Denim, with its roots in workwear, is often regarded as the basis of a simple everyday uniform, where volume, length and embellishment usually mark the greatest extremes. Yet the durable fabric offers more scope than it might initially suggest.

Rather than revisiting the old question of whether women will wear skinny or wider trousers this winter, designers from London to New York presented several standout pieces that made conventional denim treatments such as stonewashing look dated.

Statement jackets

The denim jacket is a true classic that, over recent decades, has evolved primarily through different washes, lengths and customisation details such as embroidery and patches. However, this type of piece has far more to offer than serving as a simple trans-seasonal jacket, as designers demonstrated across their AW26 collections.

The options ranged from an oversized collar, draped around the neck almost like a towel, to added shoulder tabs and ruching, as well as asymmetric cuts and layered constructions. Also on show were a knee-length coat with ruching; a sharply cropped, rock-inspired version with long sleeves; and an elegant style finished with an additional denim train.

Adaptable

Not only denim jackets stand out from the crowd this season; trousers and skirts also offer several alternatives to standard silhouettes. Adaptability is at the centre of the story.

Designers presented various approaches to transformable pieces with different styling options. British designer Stella McCartney, for example, showed jeans featuring two vertical zips running from the waistband down the full length of each leg. This allows the silhouette to be adjusted symmetrically on both legs or asymmetrically on one side.

New York label Eckhaus Latta, meanwhile, played with multiple layers. Two long denim legs with cut-outs at the crotch sat over brief shorts, to which they were attached. US brand Tibi also offered extra versatility through a loincloth-style panel worn over long jeans. British brand JW Anderson presented a piece that sits somewhere between a skirt and capri trousers, complete with additional layers.

Between palazzo trousers and long skirts

Wearers gain even more movement through the choice of a long denim skirt, from high-waisted to low-waisted, or wide palazzo trousers. In some of these denim looks, it is even difficult to tell whether the garment features two wide trouser legs or simply the opening of a skirt.

Other brands such as Masha Popova explored a similar shape more directly. The London-based label combined regular jeans with a wide, floor-length train, echoing the silhouette of skirts and palazzo trousers.

Mini

A long train also appeared at US denim brand 7 For All Mankind, this time paired with a very brief pencil miniskirt. The look was styled with a matching denim jacket and dark tights.

Overall, the message for autumn/winter 2026 appears to be that when skirts get shorter, at least a long-sleeved top is worn on top. Brands such as Keburia and Diesel reflected this approach, sending a pleated skirt and extremely short legless shorts down the runway.

Floral embellishments

A true classic and recurring trend is the floral motif, which once again decorated several pairs of jeans and denim jackets this season. What stood out, however, was that in most cases a subtle pattern was barely an option. On many looks, the flora climbed up the leg of the jeans or was repeated boldly across the entire piece. Styles ranged from understated embroidery and single-colour prints to full colour and ornate detailing.

Community rides, new brands and a growing interest in races beyond the Tour de France show that cycling has become a trend sport, much like running. It inspires both city dwellers and people in the countryside. Sporthaus Schuster - a renowned, family-owned sporting goods retailer based in Munich, Germany - has recognised this and realigned its bike category.

Until now, the approximately 400 square metre retail space, dedicated to a head-to-toe approach for road cycling, mountain biking and commuting, was not so clearly divided into these individual themes. This changed with the reopening this week, which will also see the “road bike” segment grow by 50 percent. A total of 50 brands can be found in the cycling department, eleven of which are in the textile sector. These include Café du Cycliste from France and the German brands Gonso and Fingerscrossed. However, bicycles are not part of the range.

Managing director Konstantin Rentrop explains why the Munich-based sporting goods retailer has decided to reorganise its range right now. He also discusses which other sports are currently popular and how the company is dealing with competition from large sports chains.

Why did you decide to expand the bike segment so prominently right now?

We have been covering the bike theme holistically for a long time. What is new, however, is the sharpening of our profile. As a sports house in Munich city centre with 5,000 square metres of space and an associated online shop, our focus is strongly on the metropolitan region. Our philosophy is that during the week you do sport to stay fit, and at the weekend you look for adventure in the Alps.

Cycling has always been a mainstay, from performance-orientated road bikes and mountain bikes to urban commuting. However, we have observed that the road bike segment has developed enormous momentum towards community and lifestyle in recent years. This is exactly where we come in. We are now focusing much more on the road bike type and the local scene.

Is the focus on the retail space increasingly on apparel brands to reflect the current trends of the “bike bubble”?

We follow a consistent “head-to-toe” approach. This means we offer a curated range of textiles, hardgoods and equipment. What we deliberately leave out are the bicycles themselves. In Munich city centre, space is limited and not available for this. If you offer bicycles, you must also provide the corresponding service and a workshop.

Instead, we concentrate on the apparel and equipment niche. While we cover the entry-level segment, we are expanding the top end of the range to be much more lifestyle-orientated. We don't want to copy the sheer mass of a huge e-commerce player. We curate strictly and focus on selected brands, including local heroes like Fingerscrossed from Traunstein. In terms of equipment, the spectrum ranges from high-end shoes to modern glasses. In the end, it is a four-part harmony of range, advice, service and community approach.

Are there any hype categories at the moment, apart from road cycling?

We are seeing very current trends such as Padel or the indoor fitness competition Hyrox, which is currently shaking up the fitness and running market. The trend towards running continues unabated, experiencing a strong pull from the lifestyle sector. The target group is becoming younger, more urban and the gender distribution more equal. An important sub-segment is trail running. If you look at the number of participants at events like the UTMB [Trail Ultramarathon, ed.] in Chamonix, you can see the huge potential.

In addition, wellbeing, health and longevity are major topics, from nutrition and supplements to recovery products. The first brands with new product types are entering the market here. Consumers today lead a much more active lifestyle than they did 15 years ago and therefore have a great interest in this area. However, it is not yet a major topic in sales.

What topics are currently important for you as a sports retailer in order to better advise customers?

On the one hand, there are digital services that we group under “push-to-store”, such as digital appointment booking for a running analysis. When the customer has a fixed appointment and a specialist advisor is available, the conversion rate is over 90 percent. Click and collect is also growing steadily.

On the other hand, I see enormous opportunities in digital consulting through artificial intelligence (AI). This allows us to significantly improve the digital customer experience. For a family-run, medium-sized company like us, AI also offers opportunities that we would otherwise hardly be able to afford financially.

Of course, sustainability remains a central theme. Customers specifically ask about production chains and fair working conditions. We need to constantly expand our expertise in this area.

Are customers more informed overall and does this play a role in the consultation?

The preliminary information is absolutely there. The purchase intention of visitors to the store is probably higher today than it used to be. We also experience so-called “consultation theft”. The ROPO (Research Offline, Purchase Online) effect has been around for a long time. There is a counter-trend, however: the need for community and personal encounters, especially after the pandemic. The more digital our lives become, the more people are interested in personal exchange.

You can no longer simply convert consumers today; we are convinced that real connections must be created. This is where brick and mortar retail can hold its own against e-commerce.

As a retailer, how do you manage to implement the community theme in concrete terms?

We founded a running community four years ago. Events have always been an important anchor for us, as we believe in the value of personal encounters. We concentrate on the Munich region and try to create added value that others cannot offer in the same way. While many brands have their own communities, we see ourselves as a platform. Every two to three weeks, we organise running events with 100 to 150 participants, where products from different brands can be tested. This multi-brand approach is our advantage. We want to merge the online experience with the local community and the in-house consultation to create a consistent experience.

How do you assess the current consumer restraint in the sports trade?

A forecast is difficult due to the current geopolitical situation. The outdoor and sports market was largely flat last year and is only expected to grow by around two to three percent annually until 2030. We had a very strong year last year, also due to special effects, which we can now compensate for well with new product range themes and more quality in many areas. Despite the consumer mood, I believe that moderate growth will continue, as health and sport remain basic themes.

High-quality and durable products will continue to be in demand, as customers want to avoid making bad purchases. Whether the sports trade will grow overall this year remains to be seen, as external effects such as the economic recession are very acute.

How do you rate the competition from large sports chains or discounters?

I have a very positive view of it. We are specialists in a niche and differentiate ourselves through quality and advice. Discounters or large chains are the ones who get people into sport in the first place. We benefit from this indirectly. When someone gets into sport and later wants to invest in more durable products, we come into play. Even when large chains or brand flagship stores open, it makes the ‘Munich marketplace’ more attractive and creates a pull effect for the city centre, which ultimately helps us.

Following a period of international repositioning, the brand will be available from April 18, 2026, in four selected stores – Glattzentrum, Spreitenbach, Basel and Bern. Metro announced on Friday that the launch will feature a curated selection of key pieces and denim.

“Topshop is back – and with it, a brand that shaped the high street of the 2000s like no other,” explained Julia Brotschi, buyer for Topshop at Metro Boutiques AG. The aim is to make the iconic looks directly accessible again for both a new and the “old” generation of customers. According to Kevin Brunner, offline marketing manager, the company wants to “create an emotional connection to the brand” through targeted activations and stage the launch as a genuine experience, going beyond mere visibility.

The market entry in Switzerland is part of a comprehensive European expansion strategy. Topshop recently expanded its presence significantly through strategic partnerships with the Danish fashion group Bestseller in wholesale and the Dutch multi-brand retailer Wehkamp in e-commerce. The cult brand has also recently returned to brick and mortar retail in Austria, celebrating its comeback at Kastner & Öhler in Graz.

This article was created with the help of artificial intelligence.

Belgian luxury brand Delvaux has had its financial burden lightened. Parent company Richemont has forgiven 100.6 million euros (118.7 million dollars) of its debt, according to a report by Belgian business-focussed newspaper De Tijd. The debt has been converted into shares.

This move strengthens Delvaux's balance sheet. It is not the first time the Belgian brand has received help from its Swiss parent company. A loan of 90 million euros was provided in 2022, shortly after Richemont acquired Delvaux in 2021.

Founded in 1829, Delvaux is known as the world's oldest luxury leather goods company.

At the time of publication, neither Richemont nor Delvaux had commented on the debt restructuring.

Madrid – Spanish fashion multinational the Inditex group has welcomed the new spring/summer 2026 season. It has done so not only by updating its product offering but also by launching new pop-up stores. While this format is not new for the company, these activations appear to be taking root and solidifying as a new pillar of its commercial strategy.

As the latest example of this 'change of hand' with which Inditex seems to be energising its 'game' in the global retail scene, we find the opening of an exclusive Zara Man pop-up in New York on April 8. This is followed by a Massimo Dutti pop-up in Paris on Friday, April 17. With these two temporary stores, Inditex is demonstrating its willingness to explore different retail formats to continue offering a unique shopping experience to its growing customer base.

These aspirations align with Inditex's strategy to strengthen its business model during 2026. The company's chief executive officer, Óscar García Maceiras, outlined the key aspects of this strategy during a press conference on March 11. The conference was held to present Inditex's annual results for the 2025 financial year. During the presentation, Maceiras highlighted that in the new financial year, “we will continue to devise new ways of interacting with our customers”. This will be achieved through opening different types of retail spaces, including a prominent focus on “exclusive menswear spaces”. These initiatives are part of the goal to “continue strengthening some of the key elements of our business model”.

From a broader perspective, Inditex's commitment to pop-up spaces and experiences is linked to two key factors. These factors appear decisive in driving these strategies for marketing its products. The first is an internal factor, a direct consequence of the 'correction' the Spanish fashion multinational has made to its sales structures in recent years. This has led the company to reduce its store count from 7,490 at the end of the 2018 financial year to 5,460 at the close of its latest 2025 fiscal year. This represents a loss of 2,030 stores. It has also resulted in a loss of 241,378 square metres of retail space over the same period, a 4.86 percent decrease. The total area has shrunk from 4,962,081 square metres in 2018 to 4,720,703 square metres in 2025, leading to a more concentrated retail network for Inditex.

As a result of this exercise, the company now operates larger stores with more sales area. These stores also function as small, local logistics centres through their own warehouses. This change in model is not without risks. These include a loss of market penetration and the potential to alienate consumers who are not attracted to such large spaces. These customers were also familiar with the experience offered by the medium-sized stores Inditex previously operated. Inditex hopes to mitigate these tensions with its audience first through its online channel. Secondly, it aims to do so through more curated and experiential store openings, such as the new Zara Man locations and the increasingly popular pop-up format among the group's brands.

A second key factor driving this temporary store format is external: the growing rise of new urban fashion firms emerging in key markets for the company, such as Spain. These brands have already begun to internationalise. They are relying on strategies based on experiential pop-ups that allow them to offer disruptive, dynamic shopping experiences and test the potential for permanent entry into these international markets. These tactics have earned them recognition and applause from both their audience and industry professionals for their ability to rewrite the rules of fashion retail. This has enabled them to compete with major industry giants like Inditex. It is clear that Inditex has now decided to play the new game introduced by these urban fashion firms. These brands are creating a real buzz among the new generations of fashion consumers.

Zara Man: pop-up in New York, until the end of June

Focusing on Inditex's latest actions in this area, Zara, the group's largest chain by turnover, opened a pop-up store in New York on April 8 dedicated exclusively to its menswear offering. The space, located at 73 Spring Street in the heart of New York's SoHo, allows Zara and Inditex to further their menswear segmentation strategy in the US. This follows the opening last November of its first Zara Man store in the country, at the South Coast Plaza shopping centre in Costa Mesa, California.

Unlike the permanent store, the space opened this month in New York is expected to remain open only until the end of June, as reported a week ago by US news outlet WWD. During this time, the pop-up, for which neither Zara nor Inditex have officially released information, will offer an exclusive, curated selection of Zara's men's collections. This follows its initial opening weeks, when the store was dedicated to an exclusive pop-up for the 'Vatisimo' capsule collection designed for Zara by American designer Willy Chavarria. From April 8, this offering was expanded to include a wider range of items from Zara's collections. Customers will find these products distributed throughout the nearly 200 square metre pop-up in New York.

With its opening, it seems clear that Zara, following the 'change of hand' mentioned earlier, is testing the potential for opening a second permanent Zara Man store in the US. The country has been Inditex's largest market after Spain since 2021. At the close of the 2025 financial year, it operated 103 stores there: 102 from Zara and one from Massimo Dutti. This retail network is set to expand further during 2026, with plans including the opening of the first two Bershka stores and another two Massimo Dutti stores.

Massimo Dutti: pop-up in Paris, from April 17 to 26

The new pop-up opened today in Paris by Massimo Dutti, the Inditex group's premium brand, will be much more short-lived. The temporary store will be located at 7 Rue Froissart in the heart of the Le Marais district from April 17 to 26. For a few days, it will share the retail scene with brands like Isabel Marant, American Vintage and Ami Paris. Spanish fashion brand Scuffers has also just set up its pop-up just a few steps away from the Massimo Dutti location. While Massimo Dutti does not initially share the same target audience as this brand, it is clear they share a similar strategy, as mentioned at the beginning of this article.

According to Massimo Dutti's management, the pop-up has been opened to coincide with this week's launch of its new men's and women's 'Limited Edition' collections for the spring/summer 2026 season. These collections feature some of the brand's signature codes, such as the use of materials like leather, suede, silk and linen. They are constructed from patterns with clean lines inspired by traditional tailoring and will be sold in a carefully curated, experiential atmosphere. To create this atmosphere, Massimo Dutti has drawn on the bohemian essence of this specific part of Le Marais, which is filled with art galleries, cafés and stylish boutiques. The brand has established several collaborations, including with the Yvon Lambert bookshop; chef Rose Chalalai; photographer Saskia Lawaks; the Jacques Lacoste and Laffanour art galleries; florist Nina Charles; and Café Nuances, which will operate a small coffee space inside the pop-up.

Massimo Dutti has conceived this pop-up experience as “a natural extension of a way of understanding the product”, and of seeing it “not only as a design object, but as a meeting point between ‘savoir-faire’, curation and creative affinities”, the fashion brand's management highlights. From this perspective, “the activation in Paris thus underscores a vision in which the collection expands through precisely selected collaborations, capable of bringing context, depth and cultural value to the brand experience”. This activation allows Massimo Dutti to “consolidate a way of ‘building collections’ in which the product is at the centre, but is enriched through exchange with other creative perspectives”. Thus, as a benchmark to watch for future evolution, “the Paris pop-up becomes the expression of a special edition” of its 'Limited Edition' collections, “conceived from collaboration, aesthetic sensitivity and a vocation for permanence”.

When two style icons meet, heritage is renewed through a shared creative vision. United by common values, Dolce & Gabbana and Ray-Ban unveil a collection that embodies the DNA of both brands: strong Italian roots, distinctive design codes, authentic self-expression, and a deep connection to contemporary culture. This collaboration celebrates an eyewear legend that has shaped generations. As Ray-Ban’s most enduring silhouette approaches its 90th anniversary, the Aviator is reimagined by Domenico Dolce and Stefano Gabbana. Through their unmistakable creative perspective, the style evolves in new interpretations of the Shooter and Outdoorsman II.

Drawing on archival elements, the Shooter is defined by a bold shape, a mother-of-pearl brow bar, and a built-in cigarette holder – all nods to sophisticated vintage design. The teardrop lenses come in orange, pink, green, blue, and yellow, with transparent and mirrored options, and feature finely applied Ray-Ban and Dolce&Gabbana logos. The slim metal construction follows the classic pilot shape, creating separation between lens and frame for a refined rimless effect.

The Outdoorsman II captures the essence of timeless design with understated lines and a contemporary touch. The prominent brow bar gives the frame a graphic edge, while the lightweight metal construction plays with negative space to elevate the overall silhouette. Teardrop lenses, offered in mirrored and transparent options, are available in blue, powder pink, beige, brown, and green, all signed with the logos of both brands.

Each pair comes with an exclusive leather case, complete with a leather strap and gold-tone metal carabiner. Finished with signature Dolce&Gabbana detailing, the case is designed to be worn as an accessory and can be easily attached to bags or belts.

Captured through the lens of Gray Sorrenti, the campaign brings the collection to life in vibrant images that reflect the bold, unapologetic spirit of both Ray-Ban and Dolce&Gabbana.

The collection is available worldwide from April 16 through Ray-Ban and Dolce&Gabbana channels, as well as selected retailers.

Bhavitha Mandava made her House debut on the runway for Matthieu Blazy’s first Spring Summer 2026 collection before making history as the first Indian model to open a CHANEL show, leading the Métiers d’art 2026 runway last December.

Discovered by chance in the New York City subway and a proud NYU graduate, Bhavitha’s intelligence, wit, and beauty make her the perfect embodiment of the CHANEL style, true to Matthieu Blazy’s vision.

Bhavitha Mandava: “CHANEL has long stood as a symbol of the modern working woman in motion, a spirit I deeply resonate with and am proud to embody. Matthieu’s vision for the house brings a genuine sense of joy, thoughtfully balanced with reverence for its legacy. I’m truly honoured to be part of this new chapter at CHANEL and to join as an ambassador for a House that holds a special place in my heart.”

Matthieu Blazy: “Since we met, Bhavitha has never ceased to amaze me. Smart, down to earth, she emanates a sense of deep joy. We are happy she will be part of this chapter with us at CHANEL.”

Driven by the growing enthusiasm for trail running, the brand Kiprun, a sector expert from the Decathlon portfolio, aims to solidify its position among the major players on the international stage. To achieve this, the company announced on April 17 a three-year partnership with trail running athlete Mathieu Blanchard.

The collaboration is distinguished by the athlete's specific profile. Mathieu Blanchard, an engineer by training, will be integrated into the brand's design processes. His track record includes a victory at the Diagonale des Fous in 2024, as well as podium finishes at the UTMB and the Hardrock 100. The athlete will participate in the development of future equipment, using extreme races as a laboratory to test and validate products in real-world conditions.

Key points of this new strategic partnership:

• Mathieu Blanchard commits for three years to strengthen the outfitter's team of athletes.

• The athlete will leverage his engineering expertise for the design of future products.

• The equipment developed will aim to meet the demands of top-level performance while remaining accessible to consumers.

• The Decathlon brand will leverage this collaboration to continue its growth, as it is currently present in 70 countries.

“What convinced me about Kiprun is the opportunity to connect everything that drives me: performance, adventure and innovation,” explained Mathieu Blanchard in a statement. The athlete added that his goal is to transform what works for him in demanding races into solutions accessible to all runners.

By partnering with a hybrid profile like Mathieu Blanchard's, Kiprun demonstrates a clear desire to move upmarket and structure its innovation capacity against the sector's established players. Anthony Dulieu, chief executive officer of Kiprun, also noted that this new addition is part of a broader strategy to design products capable of competing at the highest level.

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

UK-based group Associated British Foods (ABF) is anticipated to present a strategy to decouple its Primark fashion business from its diversified food portfolio this Tuesday, according to Reuters. The move follows a comprehensive structural assessment intended to enhance long-term shareholder value.

Primark currently maintains a retail footprint of 486 stores across 19 international markets. Despite its scale, the fashion retailer experienced a 2.7 percent decline in underlying sales during the Christmas quarter.

Primark separation remains working assumption

The London-based parent company initiated the structural review last year, supported by advisory firm Rothschild. ABF chief executive officer, George Weston, indicated in November that the findings are scheduled for release by April 21, 2026, to align with the announcement of first-half results.

Weston noted that the separation of the clothing chain is the “working assumption” for the board. This strategic shift is being coordinated with Wittington Investments, the holding company for the Weston family, which intends to retain majority control over both business units post-separation.

The structural evaluation arrives as ABF shares have recorded a 14 percent decrease over the last year. By separating the high street retailer from the broader group, the board aims to address valuation discrepancies between its retail and food segments.

Management restructured ahead of transition

ABF has formalised the leadership at the fashion division by appointing Eoin Tonge as the permanent CEO of Primark. Tonge, formerly the group finance chief for ABF, has led the retailer in an interim capacity since March 10, 2025, following the sudden departure of Paul Marchant.

The executive team has been further expanded with the recruitment of Filip Ekvall, a former executive at Swedish brand H&M. Ekvall joins the company in the newly established position of chief commercial officer.

These appointments mark a significant reinforcement of the Primark leadership structure as the brand prepares for a potential standalone future.

Nordic lifestyle brand ARKET teams up with New York-based artist Laila Gohar on her debut ready-to-wear collection, launching for Spring/Summer 2026. The collaboration spans 27 pieces, translating Gohar’s singular aesthetic into a rich, multi-layered wardrobe, designed for moments that move between the everyday and the exceptional.

Born in Cairo and based in New York, Laila Gohar blends spectacular food, installation art and playful object design to create a softly surreal world without clear boundaries between life and beauty. Her work includes acclaimed edible sculptures for Prada, Hermès, Comme des Garçons and Simone Rocha, among others, alongside her own home décor label Gohar World, co-founded with her sister Nadia Gohar in 2020.

Blending Gohar’s idiosyncratic interpretation of beauty with ARKET’s focus on practical design, the collection takes its starting point in the dynamic interplay between opposites – masculine and feminine, soft and stiff, sheer and opaque – as well as the personal, intuitive play between these dichotomies.

‘We have been fascinated by Laila’s unique blend of craft, tradition and humour for many years, and invited her to design her first-ever clothing collection with us. Her work emerges from a rich and wide-ranging world of inspiration, and the resulting wardrobe transcends categories such as occasion and everyday wear, yet feels effortlessly wearable and grounded in daily life’, says ARKET Head of Design and Creative, Ella Soccorsi.

The 27 pieces range from workwear-inspired garments such as the all-white, embroidered canvas set, a classic henley jersey top and a smock blouse informed by women’s uniforms, to more delicate expressions including the apron-based tie-blouse and a matching skirt and bra top in warm ecru silk organza. Crochet and beaded accessories complete the collection, while a distinctive, almost sculptural modular dress with a detachable skirt, rendered in crisp cotton with silk inserts, stands as a central expression of the collaboration.

Tactility, tradition and handwork are foundational elements of Laila Gohar’s world. In her collection with ARKET, individually hand-beaded pieces and non-uniform, embroidered monograms reflect a shared interest in handicrafts and textile tradition, alongside a palette of specially sourced natural materials.

‘I don’t really differentiate between everyday clothing and special occasion clothing. Every day is a special day. I wear what I want when I want. I don’t believe in saving things for an occasion – I cook in my nicest clothes, I host in them, I live in them. That’s how I dress myself. Working with ARKET was about translating that attitude into clothing: pieces that feel structured and crafted, but still intuitive, open and easy to use’, says Laila Gohar about her first ready-to-wear collection.

The ARKET and Laila Gohar collection launches on 21 April 2026. The collection will be available in selected stores and online.

With its new location in the historic old town, the brand is opening its first store in Switzerland, Birkenstock announced on Friday. The company is continuing its expansion, having just opened a new store in Bordeaux at the end of March, and now operates over 30 European stores. Additionally, the first concept store in Osaka opened at the beginning of the month, marking its 12th store in Japan.

The store concept at Storchengasse 23 in Zurich focuses on a design-led environment intended to reflect the brand's values of quality, function, and tradition. Swiss nature and craftsmanship served as the central inspiration for the interior. Materials such as pine wood, end-grain parquet flooring, and natural stone define the aesthetic, aiming to recreate the experience of a “hike through Switzerland”.

Special attention is paid to the combination of history and modernity. For instance, the design of the seating is inspired by a listed guild sign from 1357. “The new store is designed as a touchpoint where consumers can experience the brand promise first-hand,” the company stated. The assortment includes classics such as the Arizona and Boston models, the “Care Essentials” range, and the eponymous “Zürich” model, which was designed by Karl Birkenstock in 1964.

With this move, Birkenstock underscores its commitment to “unlocking the region's potential” and engaging directly with the local community.

This article was created with the help of artificial intelligence.

Despite the war with Iran, German ships in the Gulf region can continue to be insured. This was announced by the German Insurance Association (GDV).

“Insurers are adjusting terms and prices, but are not pulling out,” said Jörg Asmussen, general manager of the GDV. War risk insurance, which typically covers damage from incidents such as mines, is also still being offered by insurers.

According to the German Shipowners' Association (VDR), shipping companies generally take out war risk insurance for voyages through and stays in high-risk areas. The VDR also represents shipping companies whose vessels are stranded in the Persian Gulf, where traffic in the Strait of Hormuz has largely come to a halt. The association states that at least 50 ships from German shipping companies are currently stranded in the Gulf.

Insurers exercised termination rights

In early March, shortly after the war with Iran began at the end of February, the GDV announced that marine insurers were exercising their termination rights on war risk policies. According to the VDR, insurers subsequently offered coverage at significantly higher prices.

This is “a standard procedure when the risk situation changes at short notice,” the VDR stated. This has resulted in high additional costs for shipowners. For large merchant vessels, six to seven-figure sums must be paid to insure them against war damage.

Insurance brokers: prices have multiplied

Raik Becker, who works for the insurance broker Marsh Risk and negotiates with insurers on behalf of shipping companies, told the German Press Agency on Wednesday that the price of war risk insurance has multiplied since the war began. He noted that, based on experience, they are on average five to six times higher than before.

Becker added that shipping companies must pay approximately 3 to 7 percent of a vessel's value for an insured voyage through a high-risk area such as the Gulf. War risk insurance is also available for ships stranded in the Gulf. In such cases, a specific time frame is agreed upon for the policy's validity.

The Strait of Hormuz is a sea passage south of Iran and one of the most important routes for the oil and gas trade. Iran is threatening free navigation in the strait and has largely brought traffic to a standstill. The US established a naval blockade on Monday.

New York - Victoria Beckham has responded to accusations from her eldest son that she wants to "control" his life and tried to "ruin" his marriage. In an interview with the Wall Street Journal on Thursday, she stated that she and her husband David have always sought to "protect" their children.

In a long message posted on social media in January, Brooklyn Beckham, 27, accused his famous parents of placing more importance on the "Beckham brand" than anything else.

According to him, in the weeks leading up to his 2022 wedding to American actress Nicola Peltz, they tried to convince him to "give up" the rights to his name.

When asked by the American newspaper about these accusations, Victoria Beckham, the former Spice Girl turned successful fashion designer and businesswoman, defended herself and her husband, the former captain of the England football team. She did so without naming their eldest son.

"We have always tried to be the best parents possible. You know, we have been in the spotlight for over thirty years now, and all we have ever tried to do is protect our children and love our children," she said.

"Parenting young adults and adults, my goodness, is very different from having young children. I think we are doing our best."

The Beckhams cultivate an image on social media and in the media as a glamorous and successful couple. They appear to be a close-knit family, very close to their other three children.

"From the moment I started to oppose my family, I have faced countless attacks from my parents, both in private and in public, passed on to the press on their instructions," Brooklyn also accused.

David Beckham himself has not responded directly to questions about the tensions with his son. However, during a CNBC programme about children's use of social media, he stated that they have "the right to make mistakes".

The stock market surge of the former shoe company Allbirds, following its surprising pivot to the artificial intelligence (AI) business, is losing steam. The stock fell by more than 35 percent on Thursday after its price had previously increased approximately sevenfold.

Allbirds was once a popular shoe brand, particularly in tech circles, which originally started in New Zealand. Following its stock market debut in 2021, Allbirds was temporarily valued at around four billion US dollars. A few weeks ago, however, the business was valued at less than 40 million dollars and was on the brink of collapse.

New start as an AI specialist?

The company then suddenly announced a new start as a provider of artificial intelligence infrastructure under the name NewBird AI. A previously unnamed investor announced plans to invest up to 50 million dollars in the company. The share price subsequently jumped from around 3 dollars to approximately 21 dollars. On Thursday, it fell back to the 10-dollar mark.

Analysts attributed the rise, in part, to investors' tendency to jump on anything related to AI. The development is reminiscent of the situation a few years ago when simply announcing something related to digital currencies like Bitcoin was enough to trigger stock price increases. Gene Munster of Deepwater Asset Management told the financial service Bloomberg that even if the Allbirds announcement lacks substance, enthusiasm and potential are enough for investors. He added that the plans also have a “healthy dose of absurdity”.

All Conditions Gear (ACG) is redefining what is possible on the trail with the launch of the Zegama Hike, high-performance hiking boots designed to blur the lines between running and hiking footwear.

Designed to move confidently over rugged terrain, the Zegama Hike offers lightness, responsiveness and all-day comfort. The boot incorporates ACG's most advanced performance innovations into hiking footwear. It responds to outdoor athletes who demand stability, protection and cushioning, regardless of the conditions or terrain.

The Zegama Hike is the first hiking offering within ACG's performance footwear line following the brand's relaunch in February. The boot combines the lightweight, responsive DNA of the Zegama Trail running shoe with the durability and support needed for longer, more demanding routes, creating a new standard for modern hiking footwear.

“Zegama Hike breaks the mould for the right reasons, bringing the best of Nike's innovation to hiking and offering a comprehensive system that puts the athlete's needs at the centre,” says Brenden McAleese, director of footwear at ACG. “ACG is doing what the brand does best: imagining high-performance equipment wrapped in the unique magic of ACG.”

At the base of the Zegama Hike is a trail-specific last with more room in the forefoot and toe box, providing a comfortable fit for long days on the trail. A stacked foam construction reinforces this comfort, with a soft, responsive layer of trail-tuned ZoomX foam located directly underfoot, wrapped in a more protective and rigid foam designed to enhance durability and stability on uneven terrain.

To keep athletes secure on technical trails, the mid-cut Zegama Hike features a benchmark fit system designed to provide secure support and confidence with every step, stabilising the heel and ankle on steep climbs and descents. Durability is integrated into every element of the upper, with rubberised reinforcements, reinforced toe and heel guards, and a precise ankle gaiter that helps prevent debris from entering, while maintaining comfort during prolonged use.

Underfoot, the Zegama Hike is equipped with Vibram Megagrip technology, which provides reliable traction on both wet and dry surfaces. Designed to improve stability and control on descents, a wider base and solid rubber coverage give outdoor athletes the confidence to move effectively on steep, rocky trails with a fully loaded pack.

Additionally, the silhouette features a bold aesthetic that goes beyond that of a traditional hiking boot, contrasting the simple lines of trekking footwear with new ACG design elements and striking colour combinations that stand out on any trail.

ACG developed the Zegama Hike by listening closely to the changing needs of outdoor athletes seeking lighter hiking footwear that can provide all-day comfort and protection on rugged terrain. ACG extensively tested prototypes on trails around the world, from long hikes in Oregon to traverses in the Alps. The brand conducted fit tests with a local running club in Korea; collaborated with an urban hiking group in Los Angeles; and worked alongside university athletes in Utah. At the same time, ACG innovators subjected the silhouette to hikes of between eight and ten hours with full packs to ensure consistent performance in real-world conditions.

The Zegama Hike represents the continued evolution of ACG's footwear line, created to make it easier for outdoor athletes to find the responsiveness, comfort and durability they need to run, walk and explore. Designed with direct input from outdoor athletes and tested on all types of surfaces and in all seasons, ACG footwear is made to perform, endure and stand out, wherever the trail may lead.

The ACG Zegama Hike will be available in July 2026 on the website and in selected stores.

Interview

"I wanted a product that would eliminate the compromise between beauty and practicality, helping women to live with more freedom and light-heartedness," says Asia Pellegrini, the under-30 founder of Nothink Shoes, the brand for all heel lovers.

The idea came from Asia Pellegrini, the under-30 founder of this shoe label. It was made possible by the Heelchanger system, the result of over ten years of research and development. The shoes allow the wearer to easily switch from high to low heels, or vice versa, choosing between heights of 3 centimetres, 7 centimetres and 10 centimetres and seven types of heels. The collection is produced in Spain by artisans with over 30 years of experience using high-quality Italian materials. It is sold on the brand's e-commerce site and includes versatile models. By reducing the need to buy multiple pairs of shoes, the brand also promotes a sustainable approach to fashion.

FashionUnited interviewed Asia Pellegrini, the brand's founder, to understand the genesis and strategy of the company Nothink srl, which is based in Azzano San Paolo, in the province of Bergamo, Italy.

How did this idea come about?

I was living in London and I saw girls and women who, after getting off the tube and arriving at their destination, would take their heeled shoes out of their bags to replace their trainers or flat shoes. The fact is, as we know, that outfits designed for high heels are often not flattering with flat or athletic footwear. So I started thinking about a solution. I envisioned a shoe that could transform from high-heeled to more comfortable, at least enough to avoid carrying a 'spare' pair, which is also complicated. I searched the market and found the German brand Mime et moi, which sold a type of shoe that allowed you to change the heel. No sooner said than done: I bought them because I wanted to see if they 'worked well' and were aesthetically pleasing. They were indeed comfortable and functional, both in the high and low heel versions. Most importantly, once on, you couldn't tell it was a shoe with an interchangeable heel. The only thing that left me a little perplexed was the aesthetic; some had velcro, in short, not my ideal shoe. So I tried to contact the company to propose a collaboration. They never replied.

So you decided to go it alone?

Yes, I contacted two engineering firms and asked if it was feasible to patent a mechanism that would not conflict with the existing patent. The answer was that it would not be easy and there would be difficulties. Some time passed and I received a newsletter from the German brand announcing that the company was closing down. I seized the opportunity and wrote again to see if they intended to sell the patent rights. After six months of negotiations, we reached an agreement. It was a long process because, unfortunately, it involved three partners who had decided to abandon the brand as they no longer got along. In the meantime, I went to Spain to visit the company that produced them.

Where exactly are the shoes produced?

In Alicante, Spain. It is actually three different factories: one produces the sole components; another produces the heels; and the third assembles the shoes. These three facilities are all located in the same small town and had been collaborating with the German company for over 10 years. They had been involved from the very beginning, first in the creation of the prototype and then in the actual production. So in 2023, we started creating the new models and did some testing. In 2024, we were ready and launched on the market with our e-commerce site, which is still our main channel for selling shoes in Europe, America and South America. We recently attended a trade fair in Dubai, the International Apparel and Textile Fair, and the response was very positive.

The price of the shoe, around 250-280 euros, includes one high and one low heel. This is in line with this market, as are the current models. If you want to buy other heels, a set starts from 35 euros. Today, in fact, the shoe has a structural limitation in that the sole has to move, so it cannot be completely closed. The central part must remain open. Therefore, it is obviously not wearable in Italy or where it is cold in winter. We are currently looking into developing a boot, but we are in the early stages.

What was the initial investment?

The initial investment was around 100,000 euros to acquire the patents, i.e. the patent registered in several countries, and some stock.

What was your turnover last year?

Around 50,000 euros, and we expect to double that in 2026.

What are the primary markets?

The market that is currently responding best is Spain. This is because I have a Spanish partner. In fact, in 2024, a girl who had the same idea as me contacted me. She is a 22-year-old girl from Valencia: Luna Talavera Garcia. She is very good and dedicates herself to this brand full-time, while I also have another job. Luna manages the Tik Tok and Instagram channels; today we have almost 250,000 followers. She creates content in Spanish, explaining how the mechanism actually works. She also explains that the price is justified by the fact that the sole has 20 components and it is an artisanal shoe, as it is made entirely by hand with high-quality Italian leather. The collection also includes models in faux leather and fabric, always of high quality as the material must be flexible and durable.

Germany is the second market for us and Italy is the third, followed by England, where my idea originated. With Brexit, unfortunately, those who order online have to pay high duties. The goal, therefore, is to find a partner in the country.

So at the moment, digital and e-commerce are the preferred channels in your strategy?

Yes, in the future we are also thinking of participating in some trade fairs in Italy. Last year we opened a temporary pop-up in Milan and involved the press and potential customers who wanted to try on the shoe. The next pop-up will be opened in Paris. Shops often ask us for the footwear, but stock management can be a bit complex, also because of the set of additional heels that need to be kept.

British apparel brand Topshop has taken another significant step in its revival. The label is now available in Austrian brick and mortar stores once again. According to media reports, it has been available for several days at the Graz branch of textile retailer Kastner & Öhler.

The comeback was orchestrated by Danish apparel group Bestseller Group. Its parent company, Heartland, acquired a majority stake in Topshop in 2024 and has been driving the brand's expansion ever since. This involved not only restructuring the online business but also seeking collaborations with brick and mortar retailers. A collaboration with British retail chain John Lewis was announced last September. For several weeks now, Topshop has been available in numerous of the company's stores.

The brand has now also made the move into physical retail space in Austria. “With Kastner & Öhler, we have found a strong partner to bring the Topshop experience back to brick and mortar retail in Austria,” explained Thomas Ott, the responsible country manager at Bestseller, according to media reports.

The best collections are not created behind a screen. They are born from movement, from the dynamic and hectic interplay between design, sales and marketing. They emerge from unfinished conversations, lingering doubts and flowing energy. The fashion industry has always been fragmented: sales teams on the road, marketing in the office and design often international. However, where distance was once bridged by more physical presence, collaboration is now increasingly shifting to the digital realm.

The question is not just what we gain in flexibility. The real question is: what do we lose along the way? This has significant implications for connection and psychological safety, the foundation on which teams dare to create, speak up and fail.

The silent rise of silos

Where ideas once sparked between coffee breaks and lunches, collaboration is now fragmented. Designers work from their own bubbles, sales teams move between appointments and marketing exists online. What disappears are the subtle cues.

A look that adds nuance. A quick check-in that eases tension. A gut feeling that says: something is not right here.

Communication becomes more efficient via email and social media, but also flatter and more direct. Sometimes it is even sharper than intended. Feedback loses its layers. Unnoticed, silos begin to form. Teams keep functioning, but the connection between them weakens. What was once collaboration is increasingly becoming remote coordination. This is precisely where it affects psychological safety: as cues fade, it becomes harder to sense when someone is holding back.

Where the friction really lies

In fashion, the relationship between design, sales and marketing is not a nice-to-have; it is the core of relevance. Sales senses the market, design translates that energy into form and marketing gives it meaning. As soon as these three fall out of sync, noise is created. In fashion, noise is not a small problem: it affects timing, sentiment and sharpness. Hybrid working makes this alignment more vulnerable. Meetings become shorter and more goal-oriented, but also more functional. There is less room for exploring ideas, for the half-spoken concept that holds real potential.

At the same time, psychological safety shifts from something tangible to something abstract. Not everyone feels equally free to speak up in a digital setting. This is especially true as relationships become more superficial and informal moments disappear. Who still spontaneously says: “I think we’re missing something”? Who is it that remains silent?

The risk you don’t see

The greatest danger of hybrid working is invisible. It is the friction that stays under the radar. The burnout that goes unmentioned. The colleagues who slowly disengage without anyone truly noticing.

In a high-pressure, deadline-driven industry, this can escalate quickly. Digital communication amplifies this effect. Without body language, a comment can land harder than intended. What is missing is context. Without context, nuance disappears, which is precisely what creative collaboration needs. Psychological safety is often found in the small things: daring to doubt; sharing something unfinished; giving critical feedback without repercussions. This very space is put under pressure when interaction is primarily digital.

Hybrid working requires direction

Hybrid working is not a practical puzzle, but a cultural redesign. Connection and psychological safety no longer arise spontaneously; you must actively organise them. This starts with conscious choices: when do you meet, why and for what purpose? Physical moments gain more value when they focus on what cannot be done digitally: building trust, discussing tensions and allowing ideas to emerge.

It also requires more explicit communication. Where nuance does not arise naturally, you must add it in words, tone and intention. This also applies to leadership: making it clear what constitutes normal behaviour. What does openness mean? When is something safe enough to say out loud?

What works in practice?

• Rhythm over randomness. Plan fixed physical meetings around crucial phases in the collection process, from concept to go-to-market.
• Make space for the unfinished. Consciously set aside time for ideas that are not yet fully formed. This is where trust and innovation are born.
• Check the undercurrent. Start meetings not just with targets, but with people. How is everyone doing? This lowers the barrier to speaking up later.
• Make feedback explicit. State your intention and tone. Especially in a digital context, this prevents misinterpretation and unnecessary friction.
• Ensure equal visibility. Remote working should not create a disadvantage. Being seen and heard is essential for psychological safety.
• Lead with feeling and results. Pay attention not only to output, but also to team dynamics. Who is quiet? Where is the tension?
• Organise the informal. Trust is rarely built in tightly scheduled meetings. Consciously create space for spontaneous interaction, even if it feels paradoxical.

Technology is changing how we work, but not what makes work meaningful. Fashion remains an industry of feeling, interaction and intuition. We therefore advise conscious hybrid working, because people do not thrive in silos!

REPORT

The fashion industry is facing challenges. Geopolitical tensions are creating obstacles that initially affect suppliers and ultimately impact brands. This situation also applies to the denim sector. Designers, business developers, R&D experts and even salespeople, who are expected to maintain a positive outlook, confirm this. Nevertheless, the spring edition of the Kingpins denim trade show in Halfweg is filled with happy denim enthusiasts dressed head to toe in blue. Their outfits are carefully considered, serving as a business card at the event. Kingpins is the place where professionals meet twice a year to celebrate and advance their favourite topic: denim. This includes raw and extravagant styles, commercial pieces and museum-worthy creations.

Strange atmosphere

The same strange atmosphere found at other major fashion trade shows and on LinkedIn prevails at Kingpins. Following import tariffs, the US further compromised supply chains by engaging in a conflict with Iran. The situation escalated this week when the US, following Iran's lead, began actively blocking the crucial sea route along the Strait of Hormuz. Consequently, almost no ships sailing to or from Iran can pass through.

Not everyone at the trade show is willing to be candid about the consequences of the conflict in the Middle East. In conversations with FashionUnited, salespeople predict a swift recovery that will usher in a new era of innovation for denim. The diverse offerings on the trade show floor seem to support this. However, conversations reveal an underlying sense of unease.

Uncertainty

Alberto De Conti, who works in business development at Officina39, identifies the core issue: “It is obvious that the geopolitical situation is not helping. It is becoming exhausting when you consider we first had the pandemic with its financial consequences, and now this conflict. Companies are constantly firefighting, which includes making strategic production changes. This distracts from the core business.”

He believes general uncertainty is the main culprit. “You can anticipate bad news with a plan B, but without a clear outlook for the near future, planning becomes impossible and paralysis sets in.”

The conflict in the Persian Gulf is already beginning to affect Officina39, De Conti admits, as part of the chemical supplier's production is based near Dubai. No new deliveries can be made there, so production has been temporarily halted. “For now, we have to move everything back to Italy. Hopefully, this situation will not last much longer.” Freelance denim designer Sina Steidinger also senses this uncertainty in the tense atmosphere at the trade show. “There is a lot of discussion about what lies ahead, and the outlook is not positive. People are particularly concerned about the financial repercussions.” According to Steidinger, the industry is consequently playing it safe. “Many brands are no longer willing to take risks. In terms of design, they are opting for a copy-paste approach.”

She hears nothing about sustainability, a buzzword that has dominated the trade show for years, not even during the trend forecasts on the main stage. “I find that sad. Ten years ago, everyone said sustainability was a trend, whereas I believed it was the future. Perhaps they were right after all.” Kingpins is also a social event, a place for people to connect. Designer Maria Gunnarsson senses this conviviality despite the underlying panic: “I feel good and am particularly enjoying the social aspect. Since I do not have to present anything myself this time, I have plenty of time to see friends and find new inspiration.”

Rigid becomes drapey

Despite the unrest, suppliers continue to innovate. There are several new catwalk trends that need to be addressed. Tensions exist between these trends, each demanding unique interpretations. Currently, this is seen in the rise of raw Japanese denim versus the Y2K look from the noughties. The latter trend requires extreme fabric transformations, such as flocking for a velvety texture or mud washes for a weathered look.

What are retailers looking for? “Three years ago, jeans were made from performance denim, which are stretch fabrics,” explains Carolina Wilches from fibre producer Naia. “Now, denim is returning to its original form: rigid, Japanese cotton denim.” Wilches describes dry denim as an intermediate stage. She sees fashion already moving towards what she calls 'drapey qualities', which are fluid silhouettes far removed from classic, stiff jeans. These variations require less elastane. Working with natural blends of linen or more sustainable viscose also makes the fabric easier to recycle.

For denim blouses, Wilches sees another trend emerging: 'fake denim', a fabric with a silky sheen that resembles viscose. In terms of finishes, customer demand is insatiable. The sourcing expert receives many requests for custom treatments, such as painting techniques and laser prints. Florals and the 'splatter' paint look have also made a comeback.

Vintage look 2.0

At Isko, one of the larger Turkish fabric producers, the Y2K look is seen to be maturing. A heavy stonewash was sufficient in previous seasons. Now, brands are requesting that the worn-in look be recreated with more technical detail. This can only be achieved with a good 'rope dye', explains R&D expert Asli Can. This dyeing technique keeps the core of the yarn white. Through wear or artificial treatments like a stonewash, the white core is exposed. This creates the sharp contrast that is particularly sought after by young consumers. In addition to the white core, Isko is now using brown base tones beneath the indigo dye. During the washing process, these layers wear away. This allows the underlayer to show through the blue, creating a different kind of faux-vintage look.

'Ring slubs' also contribute to this look. These are yarns with thick and thin white worn spots that create a grainy effect. However, an authentic vintage look remains difficult to replicate. Can believes brands must consider the significant growth of the vintage market. “We see many well-worn styles in fashion, such as old Levi's and Wrangler pieces. The best examples develop character over the years. Simply wearing raw denim creates a natural high-and-low contrast. A naturally worn garment has its own unique quality.”

Movement in the fabric

According to Can, after a period of ‘clean’ denim, there is now ‘movement’ in the fabric's texture. De Conti also demonstrates this at Officina39. Among the new finishes is a laser print using red paint that can be precisely burned onto the fabric. The excess washes away during the cleaning process.

Chemicals can also be used to alter the fabric's handfeel. De Conti highlights two contrasting approaches. Treatments with gels result in a smooth, classic Californian denim look. In contrast, using powders gives the fabric a stiff, lived-in texture.

He adds that not all brands are open to such innovations. Designers refer to his showroom as a ‘candy shop’. However, translating these ideas into commercial projects remains a challenge. De Conti sighs, “When I look in stores, I see very little innovation in aesthetics.”

When large innovation budgets are put on hold, the focus shifts to details. This includes bucklebacks, which are waist-cinching buckles on the back of jeans that replace a leather belt. Steidinger makes an interesting observation about pockets. They are becoming larger and more prominent. She believes that standard pocket sizes no longer suit the new, baggy silhouette.

Art

The future has to be bright; trade shows like Kingpins are designed with this in mind. To provide inspiration, art projects are set up to offer some reassurance to visitors. For example, on the top floor, there is a workshop for the denim community. Here, attendees can create a self-portrait from fabric scraps and pin it to a notice board to affirm their membership.

In the corridor leading to the white hall, creative looks inspired by artists from participating mills are on display. Sharabati paid homage to Pablo Picasso with a heavily treated, loose-fit outfit sprayed with vibrant colours. The fabric composition includes regenerative cotton and hemp. Artistic Fabric Mills chose Banksy as its muse. Their look features shades of grey, with a bomber jacket paired with a print of the brick walls synonymous with his work.

Archive pieces on leather

Another highlight is the project by recent graduate denim designer Layla-Rose Stone, who travelled from London for the trade show. She completed her fashion degree at the Ravensbourne BA Fashion course, specialising in menswear, leather and print design. She proudly stands by a rack of wearable wide-leg and straight-fit styles. It also features creations with deceptive denim prints on leather, reflecting last season's trompe-l'oeil trend.

Her collection, ‘Thought Puppet’, is a collaboration with The Vintage Showroom in London. Stone used their archive, which includes workwear from the 1940s, as the basis for her prints. She scaled these designs to her own patterns and developed a technique to transfer a weathered denim look onto deadstock leather. Stone is optimistic about her future, partly because the archival trend benefits denim. “I see denim as the backbone of fashion. It is essential to continue referencing its history.”

Tod's has completed the restoration of Palazzo Marino in Milan. A press conference was held yesterday to mark the completion of the restoration. The event was attended by the mayor of Milan, Giuseppe Sala, and the chairman of the Tod's Group, Diego Della Valle. Palazzo Marino has been the seat of the municipal administration since 1861 and is a 16th-century architectural masterpiece designed by Galeazzo Alessi.

The project, entirely financed by the Tod's Group, lasted 16 months. It involved the restoration of 7,500 square metres of internal and external facades and required a financial commitment of 2.3 million euros. The work brought deteriorated surfaces back to life through cleaning, consolidation and protection with compatible materials, as well as the renewal of plasterwork and glazes.

“We have achieved our goal and are very proud to announce the timely completion of the restoration. This project returns a symbol of the city's history to Milan and its people. With this project, our group continues to support and promote Italian art and culture, which are irreplaceable resources recognised throughout the world,” observed Diego Della Valle.

The management of the Marche-based company specified that the work was carried out in continuous and positive consultation with the Superintendence of Archaeology, Fine Arts and Landscape of Milan and with the superintendent, Emanuela Carpani.

Antonio De Matteis has been confirmed as president of Pitti Immagine.

The board of directors of the Centro di Firenze per la moda italiana (Cfmi), chaired by Antonella Mansi, met yesterday, April 15, at the Museo del Tessuto in Prato. Subsequently, an extraordinary shareholders' meeting of Pitti Immagine, comprised of Cfmi and Confindustria Moda, was held to decide on increasing the number of company directors. This was followed by the ordinary general meeting, with both meetings chaired by Antonio De Matteis.

The assembly made the appointments to the Pitti Immagine board of directors for the 2026-2028 term. Antonio De Matteis, who is the chief executive officer of the Kiton Group, was confirmed as president and Antonella Mansi was confirmed as vice president. In addition to them, the following were confirmed to the board: Giovanni Basagni, Stefano Borsini, Ercole Botto Poala, Marco Landi, Niccolò Moschini, Raffaello Napoleone, Lorenzo Nencini and Marco Palmieri.

Three new directors appointed: Paolo Carrai, Ivano Cauli and Laura Tonatto

“The renewal of the Pitti Immagine board this year represents a fundamental step in the path of reorganisation and innovation,” stated Antonella Mansi, president of Cfmi, in a note. “This path was desired and shared, and we have worked towards it with shareholders, directors and the internal structure over the last two terms. Pitti Immagine is a vital resource for the region and its manufacturing sectors. Therefore, the guiding principle of our work, both past and future, has been and will be to strengthen its capacity for renewal. We aim to effectively support the promotion of our companies in international markets during an extremely critical time for the global economy.”

Three new directors were then appointed: Paolo Carrai (chief executive officer of Via del Tè); Ivano Cauli (general manager of Pitti Immagine), and Laura Tonatto (Laura Tonatto). The board of statutory auditors was also confirmed and is composed as follows: Massimo Bianchi (president), Deborah Sassorossi and Guido Ceron. Alternates are Giuseppe Cristiani and Roberto Vanni.

President Mansi and the shareholders' meeting thanked outgoing director Niccolò Ricci “for the competent and generous work carried out during his six-year term in the interest of Italian fashion, the Pitti Immagine trade fairs, and the city and regional economy”. They also wished him well for his new role as president of Polimoda, of which Cfmi is a founding member.

Every week, textile factories close across Europe. Behind each closure: jobs lost, communities affected, strategic capabilities gone.

Euratex has released its latest Economic Update on the performance of the European textile and apparel industry in 2025. For the third consecutive year, the sector recorded negative results across all key indicators — production, turnover and employment — confirming a continued erosion of competitiveness across Europe.

Annual change in key indicators (%) — 2023–2025

The causes are clear: structurally high energy costs, weak consumer demand, growing import pressure from Asia, unfair competition from online platforms, and an increasingly heavy regulatory burden on European producers.

The EU is preparing several policy responses — the Industrial Accelerator Act, reform of the Union Customs Code, the Energy Union. However, many companies cannot wait. Europe needs immediate action to reduce energy costs, simplify regulation, strengthen market surveillance and restore a genuine level playing field.

Textiles is a strategic industrial ecosystem for Europe. Beyond fashion — clothing, footwear and home textiles that define European identity and craftsmanship — it supplies critical value chains: healthcare, defence, mobility, construction and agriculture, while supporting circularity through reuse and recycling. This is not a sector Europe can afford to lose. Euratex calls on the European Commission and Member States to take concrete action before the end of 2026.

“If Europe is serious about maintaining its manufacturing base, it must act faster and more decisively. Every week, textile companies are closing. Production moves elsewhere, dependency increases, and the carbon footprint grows. That is the opposite of what Europe wants to achieve.” Mario Jorge Machado — President, Euratex

Fashion Institute of Technology hosted its 2026 annual gala in New York City, with Ciara serving as host and a live performance by Aloe Blacc.

The event brought together fashion and industry leaders to support educational initiatives and fundraising efforts for students. The gala also honoured Richard Dickson, recognising his leadership and contribution to the retail sector.

Held at the Cathedral of St. John the Divine in New York, the evening focused on strengthening connections between industry and education while raising funds for scholarships and academic programmes. Organisers emphasised the role of the gala in expanding opportunities for emerging creatives and supporting the next generation of fashion professionals.

The programme featured tributes, networking opportunities and entertainment, culminating in a performance by Aloe Blacc. The event also highlighted mentorship and career-development initiatives designed to connect students with professionals from across the fashion and retail industries.

For fashion students and educators, the annual gala underscores how partnerships between education institutions and industry leaders can create scholarships, mentorship programmes and professional pathways within the fashion sector.

Madrid – Spanish fashion giant the Inditex has become the latest major corporation to fall victim to a cyberattack. An “unauthorised access” to the company's computer databases, containing customer information from various markets, has been reported. However, it is specified that this breach has not affected customers' personal or banking information.

According to a statement from Inditex's management, the breach of customer databases was detected on the servers of one of its technology providers. These infrastructures suffered a cyberattack that affected both Inditex and other companies with international operations. Following the attack, the Spanish fashion multinational, parent company of chains such as Zara, Bershka, Pull&Bear and Massimo Dutti, “immediately” implemented its security protocols. It also notified the relevant authorities. This was the result of a security breach on the servers of that third-party technology provider, where the company's compromised databases are hosted. Inditex reiterates that the incident “in no case” affected the personal and banking information of customers, who “can continue to access and operate with complete security”.

“Inditex has identified an unauthorised access to its organisation's databases hosted by a third party. These databases contain information about the commercial relationship with customers from different markets, but in no case do they contain data such as first and last names, telephone number, address, passwords, bank cards or other means of payment,” stated the Spanish fashion multinational in the aforementioned statement. Once the breach was detected, “Inditex immediately applied its security protocols and has initiated the notification to the corresponding authorities about this unauthorised access, which originates from an incident suffered by a former technology provider that has affected several companies with international operations”. In the case of Zara's owner, “Inditex's operations and systems have not been affected in any way” as a result of the cyberattack, and therefore, it is assured, “customers can continue to access and operate with complete security”.

A growing risk for companies

With this breach of its databases containing commercial information from customers in different markets, Inditex joins the growing list of companies and groups in the sector that have recently fallen victim to similar cybersecurity breaches, both in their own and third-party structures. Recent examples include breaches detected by Nike, Mango, El Corte Inglés and Tendam. In the case of the three Spanish companies, a breach of customers' personal data was reported.

Aware of this growing potential risk, especially within a multinational company like Inditex that has adopted an omnichannel business model, the company created and launched a Cybersecurity Advisory Committee in 2023. This is an independent body from its Audit and Compliance Committee. Its purpose is to advise the company on matters related to information security and cybersecurity. These are included among the potential technological risks for the company, given the “high degree of digitalisation and technological integration of Inditex's business model”. This nature leads the company to estimate, as stated in its 2025 Annual Report, that “the eventual materialisation of technological incidents—arising from factors such as infrastructure failures; cybersecurity incidents; application errors or difficulties in interacting with third-party technologies—could have a cross-cutting impact on the Group's activity, affecting the normal development of operational and commercial processes”.

To continue mitigating these potential risks, “throughout 2025, we continued to strengthen our defence capabilities to improve detection and response to threats such as DDoS attacks, credential stuffing and third-party vulnerabilities,” such as the one just identified, the Report adds. To achieve these objectives, the company has a specialised cyber-intelligence team responsible for continuous monitoring and early detection of risks and threats. It also has a Security Operations Centre (SOC) available 24 hours a day, seven days a week, which is responsible for the detection, analysis, notification and resolution of potential “security events” that may affect Inditex.

In 2025, a total of 66 “events of interest” were recorded. “The most relevant” of these were “reported to the Information Security Committee”. However, “none of these events” had a “significant impact on our operations or our financial statements”. This highlights how cybersecurity has become an increasingly critical area for companies. Therefore, in addition to the above, during 2025, Inditex carried out intrusion prevention measures and individual cybersecurity training programmes, providing specialised training to more than 4,000 team members.

Kulani Kinis, a fast-growing Australian swimwear and apparel brand with a loyal global following, has announced a new partnership with Bleckmann, specialists in supply chain management for fashion and lifestyle brands. Bleckmann will provide warehousing, order fulfilment and returns processing from its facility in Venlo, the Netherlands, launching Kulani Kinis’ first logistics operation based on European soil.

Supporting a bold growth strategy

Founded in Sydney in 2015 by Dani Atkins and Alex Babich, Kulani Kinis has grown from a side hustle into a globally recognised brand, expanding its reach far beyond Australia. In particular, the US market has been a strong growth engine, with a majority of the brand’s business currently generated there. Europe is another important market, and the brand has been building toward a dedicated European logistics presence for several years. “Europe has gone from a relatively small share of our business to around 10% and growing”, said Will North, Head of Commercial and Performance at Kulani Kinis. “Being based in Australia, we simply couldn't service our European customers the way we wanted to.”

This made delivery speed and operational efficiency top priorities in a new potential logistics partner. Now, with Bleckmann handling warehousing, fulfilment and returns for all the brand’s EU business, customers can expect a step change in the end-to-end shopping experience. “Previously, delivery times to the EU were up to six days as orders shipped from Australia”, said Melissa Blume, Head of Customer Experience at the brand. “With fulfilment now based in Venlo, many customers will receive their orders the next day via local carriers they know and trust.”

Dedicated expertise, cost efficiency and faster returns

After visiting several potential providers in the Netherlands, Kulani Kinis selected Bleckmann for both its ability to deliver service improvements and its fashion and lifestyle focus. “What really stood out was that Bleckmann isn’t a generalist player – they have the deep expertise we need”, continued North. “Our products demand careful handling and precise presentation, so Bleckmann’s strong SLAs around fulfilment accuracy and value-added services were a deciding factor.” This was illustrated during a team visit to Bleckmann’s Venlo facility. “We arrived in the days after Black Friday and everything was running like clockwork”, noted Blume. “That told us exactly what we needed to know.”

The economies of scale achieved with Bleckmann have also allowed Kulani Kinis to introduce free shipping on orders over €100 – a first for the brand’s European offering. Returns, too, will be transformed: rather than items being sent all the way back to Australia, items returned from European customers will benefit from faster, more efficient processing, handled locally in Venlo. “Customers can now receive their exchange orders and refunds more quickly”, explained Ruud Mars, Business Development Business Transport at Bleckmann. “This typically results in a smoother post-purchase experience and stronger customer relationships.”

Euro summer, delivered

The partnership go-live comes at a key moment for the brand. Kulani Kinis is launching its European fulfilment operation alongside the release of its new Espresso Island collection – foregrounding retro glamor, deep espresso hues and playful core prints. Bleckmann will help give European customers faster access to the brand’s latest styles just as the summer season gets underway. “Launching a major new collection and a brand-new logistics operation at the same time is a real test of any provider”, said Blume. “But the way Bleckmann has handled it has given us complete confidence going forward.”

Looking ahead, Kulani Kinis sees Europe as a key pillar of its long-term growth strategy – not just in direct-to-consumer, but in wholesale too. The brand has already appeared twice at Splash, the leading swimwear trade show in France, and is looking to build the kind of wholesale momentum in Europe that has accelerated growth in the US. “Having product physically on the continent makes everything easier – from marketing activations to wholesale conversations”, concluded North. “When potential partners see that you’re here, that you’re invested, it sends a very clear signal: we’re here to stay.”

In a price-sensitive 2026 market, retailers are increasingly focused on maximizing the commercial potential of every square meter. The traditional ‘single jean purchase’ is steadily giving way to a more holistic approach, driven by coordinated sets and tonal layering that encourage higher basket values.

Cup of Joe (COJ) has anticipated this shift, transforming their FW26 collection into a high-conversion wardrobe system. By embracing a ‘total look’ strategy, the label is providing more than just high-quality denim; it offers a modular approach designed to maximize commercial floor space and increase basket value.

Hero silhouette as a commercial anchor

At the core of this strategy is a clear anchor silhouette that provides both recognition and reliability on the shop floor. For FW26, the Tamara jacket plays this role. The style is developed as a scalable platform, offered across multiple fabrications including Marble Grey and Peanut denim, as well as textured corduroy options in Anthracite and Caribou.

For retailers, this approach reduces risk while maintaining visual freshness throughout the season. Instead of relying on multiple untested silhouettes, investment can be concentrated on proven fits, refreshed through material and colour variation.

The power of the monochrome set

2026 has seen a strong return of coordinated dressing, with tonal looks simplifying the consumer’s decision-making process. COJ’s matching sets, such as the Tamara jacket paired with the Aura jean in Peanut denim, or the rich Caribou corduroy duo, are designed to be merchandised and sold as a single unit.

This coordination is a strong driver for Units Per Transaction (UPT). When a brand provides a clearly defined set, the friction of styling is reduced. Presented as complete looks, coordinated outfits consistently outperform single-item merchandising on the shop floor. For retailers, this results in higher conversion and increased basket value, as customers are more likely to invest in the full combination.

Completing the ecosystem: Beyond indigo

A ‘total look’ strategy is only effective if it covers the entire wardrobe. COJ has strategically expanded its range to include essential layering pieces that bridge the gap between denim and lifestyle wear. The introduction of the Alina and Dora ribbed tops in seasonal shades like Burgundy and Chocolate Plum ensures that the label’s ecosystem is self-sustaining.

In addition, the introduction of soft tailoring through styles such as the Cecilia and Freya vest-and-trouser sets further strengthens the brand’s positioning as a lifestyle-driven label rather than a denim specialist alone.

Bottom line for retailers

The advantage of this approach lies in efficiency and clarity. COJ offers a cohesive product universe that reduces complexity in buying while increasing styling potential on the shop floor. The FW26 collection reflects a broader shift in denim: from isolated product category to integrated wardrobe system.

As retailers continue to navigate a competitive and price-sensitive market, this evolution positions Cup of Joe as a commercially driven partner with a clear focus on performance, consistency and ease of merchandising. In 2026, the message is clear: Don't just sell the jeans, sell the vision.

The Netherland's Queen Máxima will officially open the State of Fashion Biennale on May 13, launching a seven-week programme in Arnhem that examines the systems shaping the global fashion industry.

The 2026 edition, titled “Available to Promise; Hidden Systems, Shared Futures,” shifts attention from finished garments to the infrastructures behind them, including production chains, logistics and technology. The biennale explores how these systems influence environmental, economic and social outcomes, and how fashion and textiles can contribute to more sustainable and inclusive futures.

The event will take place from May 14 to June 28 across multiple locations, including the Eusebiuskerk as the main venue, as well as Rozet and Focus Filmtheater. The programme will feature exhibitions, talks, workshops and film screenings designed to encourage dialogue and participation.

International collaborations form a central part of the programme, with ONsite projects in Ghana, China and Sri Lanka. These initiatives examine topics such as second-hand clothing flows, regional retail innovation and the regeneration of local textile supply chains.

The exhibition design has been developed by OMA/AMO, while the curatorial team includes Anne Zhou, Anouchka van Driel and Shanu Walpita. The biennale is organised in collaboration with partners such as ArtEZ University of the Arts, Introdans and ModeMuze.

By focusing on production systems and international cooperation, the biennale positions itself as a platform for knowledge exchange between designers, researchers and educators. For fashion students and academics, the programme offers insight into supply chains, sustainability strategies and interdisciplinary approaches shaping the future of fashion.

Julie Gasperini has been appointed to the role of director of buying at KaDeWe Group. In her new function, she will take over overall responsibility for buying for KaDeWe in Berlin, alongside Oberpollinger in Munich and Alsterhaus in Hamburg. She replaces Simone Heift, who is leaving the group after 14 years.

The appointment sees the company promote talent from within its own ranks. The designated head of buying has been with the group for more than 11 years. Her most recent role was director of buying commercial, according to her profile on the professional network Linkedin.

“With Julie Gasperini, we have been able to fill this important position with an excellent candidate from our own ranks,” said Timo Weber, CEO of KaDeWe GmbH. “She has known our business, our stores and our partners for many years and brings the right experience and leadership skills for this role. I would like to thank Simone Heift for her many years of dedication and her great work and wish her all the best for the future, both professionally and personally.”

The departing Heift worked for the company for over ten years as director of buying & merchandising and a member of the management board. She had also held the title of chief merchandising officer since 2024. Her next career move is not known at this time. Prior to her time at the KaDeWe Group, she also worked as fashion director at Karstadt Warenhaus GmbH and as head of buying for the luxury mall Quartier 206.

French luxury group Kering announced on Thursday during its Capital Markets Day that it will acquire a minority stake in the Chinese group ICCF (Icicle Carven China France). The investment is part of the “House of Wonders” initiative, through which Kering aims to support selected “emerging luxury brands”.

According to the group, the transaction is part of a “strategic partnership” aimed specifically at strengthening the fashion brand Icicle, which belongs to ICCF. The plan is to drive the label's international expansion and expand its range with additional product categories, Kering explained.

Founded in Shanghai in 1997, the brand combines sustainable materials with subtle tailoring and traditionally represents a “quiet luxury” aesthetic. Icicle offers ready-to-wear collections for men and women, as well as accessories, and currently operates more than 200 stores, including flagship stores in the major cities of Beijing, Shanghai and Paris.

The investment also underscores the French group's strategic goal of strengthening its presence in the Chinese market. “This partnership combines ICCF's deep understanding of the Chinese luxury ecosystem and cultural landscape with Kering's long-standing expertise in craftsmanship, operations and brand development in Europe,” a statement read.

Marking a decade of evolution since its debut at Masterly – The Dutch, Secrid returns to Milan Design Week in 2026 with a conceptual inquiry into the hidden architecture of our daily lives: “Your Pocket, Your Impact.” Hosted within the halls of Palazzo dei Giureconsulti, the exhibition reframes the pocket as an intimate cultural domain. By examining the interplay between precision-engineered wallets and deeply personal keepsakes, Secrid explores how the objects we choose to carry close to our bodies serve as a physical reflection of what we value.

Reframing the pocket as a cultural domain

At a time when digitalisation continues to reshape daily life, Secrid shifts focus to the analogue items kept nearest to us. Through its concept of “pocketwear,” the brand redefines the pocket not as a functional afterthought, but as a curated personal space where meaning, memory, and utility intersect.

The exhibition builds on a central question: what do the objects we carry reveal about who we are? From photographs to essentials, these items accompany individuals through public life while remaining deeply tied to the private sphere.

Small choices, carried every day, shape the world around us

Beyond its conceptual framing, the exhibition also looks at the pocket as a cultural and historical space. Over time, pockets have evolved alongside shifts in technology and behaviour, from carrying coins and keys to a more selective set of fundamental and often analogue objects.

In an increasingly digital world, the pocket is the most private domain when moving through public space. It is defined not only by function, but by intention: what we choose to carry, protect and keep close. By tracing this evolution, Secrid highlights how everyday objects reflect broader societal changes, from utility to identity, and from ownership to meaning. With ‘Your Pocket, Your Impact,’ the label invites visitors to reveal their pocketwear and its story, encouraging them to share, listen, and uncover their design needs.

A decade of dialogue

The anniversary at Masterly also marks a milestone for founders René van Geer and Marianne van Sasse van Ysselt, whose participation in the exhibition over the past decade has paralleled the brand’s international growth.

Secrid products will also be available across Milan during the week through selected retail partners within walking distance of the Palazzo dei Giureconsulti, including the historic Bric’s Galleria within the Galleria Vittorio Emanuele II and La Rinascente Duomo at Piazza del Duomo. Furthermore, they can be found at Moroni Gomma on Corso Garibaldi in the heart of the Brera district, as well as at the sophisticated Valigeria Marchino on Via Urbano III.

Exhibition details

• Dates: 21 to 26 April 2026
• Location: Room 2, Palazzo dei Giureconsulti, Piazza dei Mercanti, 2, 20123 Milano

Consumer prices (February)

Fashion prices in the UK rose 0.9 percent year-on-year in February, well below the overall inflation rate of 3.0 percent, according to the Office for National Statistics (ONS). This marks a return to positive territory after two months of flat clothing and footwear inflation in December and January. Month-on-month, clothing and footwear prices rose 0.6 percent as spring collections reached stores.

The 2.1 percentage point gap between fashion inflation and headline inflation means clothing is becoming relatively cheaper for consumers, a pattern that has persisted for several months.

Retail sales (February and March)

Clothing store sales volumes stood at 99.9 in February, virtually unchanged from January's 100.9, according to ONS. In value terms, the index was 103.0, confirming that revenue growth was entirely driven by prices rather than volumes. The three-month rolling trend turned negative at minus 1.7 percent, down sharply from plus 5.2 percent in September, signalling a loss of momentum in clothing retail.

Online clothing sales held steady at an index of 107.6 with average weekly sales of 319.7 million pounds, according to ONS. The online share of clothing retail remained at 28.6 percent, broadly stable throughout recent months.

More recent card spending data from Barclays, which covers roughly half of all UK card transactions, painted a more positive picture. Clothing spend rose 3.6 percent year-on-year in March, following a 3.7 percent increase in February, according to Barclays. The gap between the ONS volume decline and the Barclays spending increase suggests consumers are buying fewer items at higher prices.

The Confederation of British Industry (CBI) Distributive Trades Survey, however, reported that retail sales volumes fell at the sharpest pace since April 2020 in March, with a balance of minus 52, according to the CBI. Retailers described sales as "poor" for the time of year and expect a similar decline in April.

Easter weekend footfall rose 3.4 percent year-on-year across UK destinations, with shopping centres up 9.0 percent and high streets up 4.1 percent, according to MRI Software.

Macro context (March)

Consumer confidence stood at minus 21 in March, according to market research firm GfK, down from minus 16 in January. The Bank of England (BoE) base rate held at 3.75 percent. Unemployment stood at 5.2 percent in the three months to December, according to ONS, up from levels below five percent earlier in 2025. The pound traded at approximately 1.36 dollars according to the BoE.

The bottom line: UK fashion retail presents a contradictory picture. Official ONS data shows clothing volumes turning negative, yet Barclays card data shows spending still growing at plus 3.6 percent. The resolution: consumers are buying fewer items at higher prices. The CBI's minus 52 reading for March is alarming, but Easter footfall and Barclays spending suggest the picture is not uniformly bleak. Fashion inflation at plus 0.9 percent against 3.0 percent headline inflation means the sector continues to absorb cost pressures rather than passing them to consumers.

• It should be noted that the underlying figures are based on different reporting periods: whilst price data and sentiment indicators can already available for March, retail turnover figures are reported with a time lag due to survey and publication cycles and, in this case, still refer to February. This time lag is common practice and nevertheless allows for a reliable assessment of current market trends.

Artificial intelligence will fundamentally reshape fashion wholesale.

Predictive reorder optimisation.
Dynamic allocation steering.
Margin protection.
Automated performance control.

But AI cannot optimise what it cannot see.

AI does not learn from PowerPoint.
AI does not learn from email threads.
AI does not learn from intuition.
AI learns from structured behavioural sales data.

And that data is created in one place:
Sales meetings.

If brands do not start capturing that data today, they will not have it tomorrow.

Learn more about FIRE’s wholesale architecture:
https://www.fire-digital.com/en/products/why/data-driven-insights

The Real AI Gap in Fashion Wholesale

Many organisations consider themselves data-driven.
In reality, the most valuable layer is missing.

ERP captures confirmed orders.
CRM tracks opportunities.
BI tools analyse past performance.

What is not captured:

• Which styles were discussed but not ordered
• Which variants were reconsidered
• Which size curves were adjusted
• Where hesitation occurred
• Where early reorder signals emerged
• How different markets reacted to the same SKU

This is real sales intelligence.
And in most organisations, it disappears after the meeting.

If You Are Asking These Questions

If you are a CSO, CIO or CEO asking:
How do we make our wholesale organisation AI-ready?
What data does AI really need in fashion wholesale?
Is ERP data sufficient for predictive forecasting?
How do we structure sales decision behaviour globally?
How do we build a future-proof data architecture without hidden dependencies?

Then the answer is not another reporting layer.
The answer is structured decision capture at the source.

FIRE Captures What Others Lose

FIRE structures wholesale sales execution end-to-end – from preorder to reorder to ongoing performance steering.

It captures:

• Digital showroom interaction
• Clicked styles and variants
• Selected and rejected SKUs
• Assortment adjustments during meetings
• Size curve modifications
• Reorder activation timing
• Cross-market sell-out signals

Every interaction becomes a structured data point.
Every market contributes to a shared longitudinal dataset.
Every season builds decision intelligence capital.

This is not retrospective reporting.
It is systematic decision capture.

Longitudinal Data: The Hidden Competitive Advantage

AI becomes powerful over time.
One season of data is interesting.
Three structured seasons are strategic.
Five seasons create competitive advantage.

Brands that begin capturing structured behavioural data today accumulate:

• Behavioural trend baselines
• SKU sensitivity patterns
• Market response logic
• Reorder timing models
• Margin correlation insights

Brands that delay will start without historical depth.
Behavioural wholesale data cannot be reconstructed retroactively.
It must be captured when decisions happen.

Private Cloud SaaS – Structured, Not Exploitative

FIRE is delivered as SaaS.
But it is not a shared marketplace ecosystem.
Each customer operates in a dedicated private cloud environment.

This ensures:

• Brand-level data isolation
• No cross-client pooling
• No aggregated behavioural intelligence across competitors
• No hidden data monetisation
• No usage of your data for external optimisation models

Your wholesale data remains your strategic asset.

Middleware in Action – Why Architecture Matters

FIRE actively uses a middleware layer to synchronise data between:
ERP
CRM
Wholesale execution

This ensures:

• Clean and stable integration
• Transparent data flows
• Upgrade safety
• Structured and consistent datasets
• Architectural clarity

Lock-in occurs when data becomes inaccessible or trapped in proprietary silos.

FIRE follows a different principle:
Data is structured, not enclosed.
Systems are connected, not replaced.
Architecture remains transparent and scalable.

SaaS here means service and scalability – not opacity or dependency.

From Local Conversations to Global Intelligence

Without structured capture:
A buyer hesitation in Milan remains local knowledge.
A bestseller signal in New York remains regional insight.
A size curve adjustment in Tokyo remains isolated nuance.

With FIRE:

• Sales decisions become globally visible
• Behavioural patterns become comparable
• Executives gain real-time transparency
• AI models learn from real decision behaviour

Local sales meetings become global intelligence assets.

Practical Example: Preparing for AI Before It Fully Arrives

A global fashion brand planned to implement AI-supported reorder optimisation.
Instead of waiting for advanced algorithms, it focused on data readiness first.

Before FIRE:

• Sales meetings were undocumented
• Behavioural signals were lost
• Data was fragmented across systems
• AI pilots lacked meaningful depth

After implementing FIRE:

• All sales interactions were systematically captured
• SKU-level behavioural datasets accumulated season over season
• Cross-market decision patterns became visible
• AI models could be trained on real behavioural history
• All data remained within the brand’s private cloud environment

The brand did not wait for AI maturity.
It built the data foundation early.

Executive Reality: AI Is a Timing Strategy

The future difference between brands will not be:
Who purchased AI tools first.

But:
Who started building structured decision data early.

ERP stores transactions.
CRM stores relationships.
FIRE stores decisions.

AI learns from decisions

Executive Summary

AI requires structured behavioural sales data.

That data is created during sales meetings.
If it is not captured, it disappears.

FIRE structures that data at the source.
In a private cloud SaaS architecture.

With active middleware integration.
Without data pooling.
Without hidden agendas.
With full brand-level data sovereignty.

FAQ – AI, Sales Data and Wholesale Intelligence

Why does AI need behavioural sales data in wholesale?
Artificial intelligence learns from patterns in decision behaviour, not only from confirmed transactions. Behavioural sales data reveals which products were considered, compared, rejected or reordered during sales meetings. This information helps AI models understand demand signals and predict future purchasing behaviour more accurately.

Is ERP data sufficient for AI-driven wholesale forecasting?
ERP systems mainly store confirmed orders, invoices and inventory movements. While this data is valuable, it does not explain why sales decisions were made. For AI-driven forecasting, companies need behavioural sales data captured during product presentations, assortment discussions and preorder decisions.

What is behavioural sales data in fashion wholesale?
Behavioural sales data describes how buyers interact with products during the sales process. Examples include which styles were clicked, compared, selected, rejected or reordered. When structured properly, these interactions provide valuable signals for analysing demand and identifying emerging trends.

Why should brands start capturing sales decision data now?
AI models improve with historical depth. The earlier brands begin capturing structured behavioural sales data, the stronger their future predictive capabilities become. Sales decision behaviour cannot be reconstructed retrospectively, which makes early data capture strategically important.

How does FIRE capture sales decision behaviour?
FIRE structures the wholesale sales process from digital showroom interaction to preorder and reorder workflows. During sales meetings, product selections, assortment adjustments and buyer interactions are captured automatically and stored as structured behavioural datasets.

How does data architecture influence AI readiness?
AI systems require consistent and structured datasets. When sales decisions are captured across markets and seasons in a unified architecture, the data becomes suitable for training predictive models and supporting AI-driven wholesale optimisation.

About FIRE

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

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

• Global capture of sales decisions
• Unified preorder and reorder workflows
• Real-time cross-market visibility
• Active middleware-based integration
• Longitudinal behavioural datasets
• Private cloud SaaS architecture
• Full brand-level data sovereignty

AI will only be as powerful as the data it learns from.
FIRE ensures that data is captured today.

Structured.
Globally visible.
Fully under your control.

Learn more:
https://www.fire-digital.com/en/products/products/overview

UK-based supermarket giant Tesco has reported a robust performance for its fashion division, F&F, for the 53 weeks ended February 28, 2026.

According to the group's preliminary results, F&F clothing sales increased by 5.1 percent to over 1.2 billion pounds (1.63 billion dollars). This growth was supported by a strong performance in womenswear, particularly within activewear and the curated ‘F&F Edit’ ranges.

The retailer attributed the division's success to its like-for-like (LFL) sales growth of 5.1 percent. A significant driver during the period was the launch of F&F Online, which provided customers with access to a more comprehensive range of apparel. This digital expansion aligns with the group's broader goal to meet more everyday customer needs through its existing retail ecosystem.

Strategic focus on digital and value

Tesco chief executive officer Ken Murphy noted that the company remains committed to managing costs for consumers amidst global economic uncertainty. The group has evolved its strategic ambitions into five reinforcing goals, including a focus on being ‘connected, personalised and loved by customers’. This includes leveraging artificial intelligence (AI) to enhance the shopping experience.

The retailer is currently trialling a large-scale AI assistant with approximately 280,000 colleagues, with plans to roll the technology out to customers later this year. For the fashion segment, the integration of F&F into the group's digital platforms, including the Tesco Marketplace which offers over 450,000 stock keeping units (SKUs), remains a priority for generating capital-light revenue.

Financial overview and outlook

On a group level, Tesco reported sales of 66.59 billion pounds, representing a 4.3 percent increase at constant exchange rates. Adjusted operating profit rose by 0.6 percent to 3.15 billion pounds. The company’s ‘Save to Invest’ programme has now delivered over 2.2 billion pounds in savings over the last four years, which continues to fund price investments and colleague pay increases.

Looking ahead to the 2026/27 financial year, the group expects to deliver an adjusted operating profit of between 3 billion pounds and 3.3 billion pounds. Capital expenditure is anticipated to rise to approximately 1.6 billion pounds as the group continues to invest in technology, digital capabilities, and the optimization of its distribution network.

Backcountry, the premium retailer of outdoor gear and apparel, has launched a brand incubator, designed to accelerate and grow the next generation of outdoor brands, and has acquired Utah-based eco-focused Coalatree as the first brand for the platform's portfolio.

The incubator platform is called Backcountry Garage, and has been designed to advance Backcountry’s vision to provide the best outdoor gear, curate innovative products, and make them accessible to a growing community of outdoor enthusiasts, while investing in “the next generation of brands shaping the outdoor industry”.

“By creating space and support for new builders and tinkerers, Backcountry taps back into its entrepreneurial roots and encourages new voices to enter the fray,” explained the brand in a statement.

Kevin Lenau, president of Backcountry, said: “At Backcountry, we believe constant innovation is the most powerful way to improve our customers’ experience outside.

“Backcountry Garage is how we keep pushing when much of the industry is waiting, partnering with builders and founders who are rethinking how great gear should perform so our community feels the difference every day on the trail, at the crag, and in their own backyards.”

The first brand acquired for the Backcountry Garage platform is the eco-minded outdoor apparel and gear brand Coalatree, founded in 2010, which has become known for its popular trailhead pants and 3-in-1 Kachula blankets.

With the new partnership, Coalatree will continue to sell through its direct-to-consumer site, “preserving its distinct voice and community,” while select key styles will also be available at Backcountry.com.

JM Fabrizi, president of Coalatree, has been appointed as the director of Backcountry Garage, where he will oversee Coalatree’s next stage of growth, while also establishing the incubator as the hub for “differentiated, community‑focused products and brands that reflect Backcountry’s values of quality, sustainability, and access”.

“The Coalatree community has helped shape every product we make, from our best‑selling Trailhead Pants to packable layers and 3‑in‑1 Kachula blankets,” added Fabrizi. “Partnering with Backcountry means Coalatree can stay close to that community, obtain feedback on a larger scale, and bring new ideas to life that were too big for Coalatree to tackle alone.”

French supply chain software provider MyTower is accelerating the consolidation of the European market for software solutions dedicated to transport, customs and trade compliance. Backed since December 2025 by the investment fund Verto Growth, the group is joining forces with three recognized industry players — TDI, Winddle and Belharra e-SCM — to build a leading European player in transport digitalization for industrial shippers and retailers.

Following these strategic acquisitions, MyTower brings together more than 300 employees, based in France, with operational subsidiaries in Italy, Spain and Morocco. The group aims to establish itself as a key technology partner for mid-market companies and large international organizations seeking modular, robust solutions capable of orchestrating their entire supply chain flows with agility and flexibility.

These acquisitions bring together complementary expertise covering the entire logistics value chain: from supplier collaboration to last-mile delivery, including transport management, customs operations and compliance.

• MyTower provides expertise in Transport Management System (TMS) and Global Trade Management (GTM) for transport and international customs operations.
• TDI is a leading solution for multi-carrier shipment management, parcel logistics, label generation and last-mile delivery.
• Winddle is a collaborative supply chain platform for the Fashion, Retail and Industry sectors, enabling integrated supplier collaboration and upstream and downstream transport management.
• Belharra e-SCM is recognized for its expertise in international procurement, supplier collaboration (SRM) and upstream visibility (inbound TMS), particularly for Luxury, Fashion and Textile players.

Together, these platforms cover the full scope of supply chain execution processes across all transport modes, all flow segments and on a global scale.

“These acquisitions represent a structural milestone for the group. The consolidation we are experiencing is not opportunistic — it is structural. It responds to a fundamental market need: simplifying complexity,” explains Jean-Christophe Cuvelier, CEO.

According to Mohamed Ould, COO, the challenge is no longer to optimize a single link in the supply chain, but to orchestrate all supply chain flows within a unified architecture.

The founders and executives of the acquired companies — Didier Guichard and management (TDI), Emilia Jevakhoff and Guillaume Grenet (Winddle), Gilles Bidart and Pascal Saint-Pierre (e-SCM) — remain fully involved and continue their engagement within the group.

Each entity’s solutions and teams will continue to support their respective clients. The objective of this integration is to enhance expertise and accelerate innovation and development in France and internationally. The next steps will focus on building an integrated offering and structuring the organization in close collaboration with teams and clients.

Beyond its European ambition, the group will leverage a strong combination of supply chain expertise and technological excellence, supported by increased investment in innovation and artificial intelligence to enhance visibility, orchestration and performance of logistics flows.

Read the e-SCM Solutions article here.

Florence, Italy - French luxury group Kering is at a “turning point”, its chief executive officer Luca de Meo said on Thursday. He was presenting the company's new strategic plan in Florence, Italy.

To return to growth, the executive highlighted a series of measures, particularly for its flagship brand Gucci, with a “significant” move “upmarket in quality”.

“Our priority is to make Gucci a must-have again,” said de Meo. The double-G brand has seen poor results for the past three years.

“You have to recognise it's Gucci in a second. That doesn't mean covering the world in GGs (the brand's logo, ed.). It can also be discreet,” said de Meo, who spoke of a “renewed identity”.

Kering (which also owns Yves Saint Laurent, Bottega Veneta, Kering Eyewear, Boucheron, etc.) aims “to generate an additional one billion euros in revenue from leather goods by 2030” for the brand, the executive stated.

“Customers notice quality, they notice consistency and they remember it,” he assured, adding that the house would have 30 percent fewer points-of-sale by 2030.

According to figures published on Tuesday, Gucci's sales continued to decline in the first quarter (down 14 percent over the period) to 1.35 billion euros (1.59 billion dollars), down 8 percent excluding currency effects.

Kering will also implement measures for the Chinese market across all its houses. This is a key region for the luxury sector. The group plans to significantly increase marketing and sales budgets and close points-of-sale there.

Los Angeles-based fashion business incubator and full-service apparel manufacturer Argyle Haus of Apparel has named industry veteran Sheila Martinez as its new vice president of operations.

Martinez has more than 20 years of experience in the fashion industry, with a background spanning technical design, apparel development, production, and retail marketing. In 2013, she founded U & I Brand Development, a fashion design and development firm where she led product creation and guided brands from concept through execution.

In her new role at Argyle Haus of Apparel, Martinez will oversee all operational functions across the company, “ensuring efficiency, scalability, and continued excellence in service delivery”.

In addition, Martinez will work closely with Houman Salem, chief executive of Argyle Haus of Apparel, to support the company’s growth and strengthen its position as a premier partner for both fashion startups and established brands.

Commenting on the appointment, Salem said in a statement: “Bringing Sheila onto the team is a major milestone for Argyle. We’ve reached a level of growth where we are able to attract and bring on seasoned executives with deep industry expertise.

“Sheila’s background across design, development, and production aligns perfectly with our vertically integrated model. She understands what it takes to bring a product to market successfully, and that perspective is invaluable as we continue to scale.”

Argyle Haus of Apparel, founded in 2014, has supported the launch of more than 1,000 brands by providing end-to-end services, including fashion design, apparel development, manufacturing, and strategic consulting, all under one roof in Los Angeles.

Swedish cashmere label Lisa Yang is opening its first-ever physical store in its home city of Stockholm in the second half of 2026.

The 1,400 square foot store will be located in the heart of Stockholm at Birger Jarlsgatan 8, and the brand has secured Architectural firm Studio Anne Holtrop to develop its first retail concept.

Lisa Yang, founded in 2014 by Lisa Yang and Samuel Stenberg, has become known for offering a complete cashmere wardrobe for women, men and the home, by bridging Scandinavian simplicity with the cashmere legacy of Inner Mongolia with its designs.

Commenting on the opening, Lisa Yang, founder and creative director, said in a statement: “We took our time to quietly build a brand grounded in material intelligence and modernity. Translating this sensibility into a physical environment that unites creativity, craftsmanship and connection, is a deliberate and exciting step we have waited for.”

Samuel Stenberg, founder and chief executive of Lisa Yang, added: “This flagship store marks an important milestone for our brand, reflecting our growth and vision for the future. Our first physical destination will not only allow us to showcase our brand strengths, but it allows us to build deeper relationships with our clients.

“We are excited to start this journey in our home market where we have an established and loyal customer base.”

Swedish fashion retailer Kappahl Group (Kappahl) has announced the opening of the first physical retail location for its lifestyle brand Kay/Day. The store is scheduled to open on April 24, 2026, in the Västermalmsgallerian shopping centre in Stockholm, Sweden.

This move marks a significant transition for Kay/Day, which was originally established to provide a wardrobe focused on longevity, comfort and high-quality materials. The brand offers a range of products including airy linen garments, wool pieces, loungewear and activewear.

Strategic brand development

The establishment of a standalone brick and mortar presence is part of a broader strategy by Kappahl to strengthen its portfolio of internal brands. According to Caroline Ahlberg, vice president assortment and marketing at Kappahl, the store aims to provide a tangible environment for the brand identity.

“Kay/Day has always been about a feeling – a lifestyle rather than just fashion,” Ahlberg stated. “With our first store, we are creating a physical space where we can convey that feeling and offer our customers a clear kay/day experience, with harmony, warmth and a sense of timeless style at its core.”

Focus on Scandinavian aesthetic

The new location will house the complete kay/day collection, which prioritises natural fibres such as wool and linen. The brand focuses on timeless design intended to outlast fast fashion cycles, responding to a perceived increase in consumer demand for durable Scandinavian aesthetics.

Gabrielle Grennard, designer for Kay/Day, noted that the store represents a holistic experience where lifestyle and brand identity converge. The selection of Västermalmsgallerian for the debut reflects a desire for accessibility within a prime retail environment.

Tobias Edberg, centre manager at Västermalmsgallerian, expressed confidence in the partnership, describing kay/day as a quality-driven brand that aligns with the visitor profile of the shopping destination. This launch follows a period of growth for the lifestyle label as it expands beyond its previous distribution model.

Swedish fashion retailer H&M have unveiled the first look at its upcoming collaboration with Stella McCartney, some twenty years after its first partnership with the British designer, which launches on May 7.

In 2005, the collaboration marked H&M’s second-ever design collaboration, following the sellout success of the inaugural collection with Karl Lagerfeld. McCartney’s original collection with the high street retailer focused on workwear staples and wearable separates, and this time around, the collection highlights the designer and activist’s 25-year history of design, prioritising recycled materials and innovative usage of feedstock for coated materials, such as industrial corn and recycled vegetable oil, as well as certified organic cottons and wool.

Spanning apparel, bags, footwear and jewellery for women, the collection “unites past and present,” combining beloved current signatures, such as oversized shirting, trenches and sharp tailoring, with playful iconic hits from McCartney’s early archive, including bejewelled prints and slogan tops.

Commenting on the collaboration, McCartney said in a statement: “I see this collection as a journey through my fashion history. It is a true mix of current classics and some of my old favourites that showcase my first forays into fashion and the development of my signatures. It’s playful, strong, sparkling, joyful, refined.”

Stella McCartney H&M collection launching May 7

Key items in the ready-to-wear collection include a classic trench coat in light beige-khaki made from 100 percent ROC certified cotton, meaning that farms must restore farm soil and biodiversity and use no artificial pesticides and fertilisers, alongside a semi-sheer lace mini dress adorned with crystal-like beads crafted from 80 percent recycled glass, matching pyjama style trousers and shirts in organic cotton, and a triangle bra featuring dangle glass beads, made from 80 percent post-consumer glass.

Other items include rib-knitted dresses and tops with McCartney’s signature Falabella chain at the neck, a long white gown with a cape-like sleeve, sparkling partywear, separates and denims, as well as mesh dresses and tops in an archival cherry print.

There is also a cropped bomber with a smock detail at the cuff in a snakeskin-inspired print and finish, where the coated material is made in part from recycled vegetable oils and agricultural crops, such as straw.

The line also has casual pieces, including hoodies and T-shirts decorated with Stella’s name, or an airbrush-style white horse that nods to the tongue-in-cheek aesthetic and vibrancy of McCartney’s celebrated years designing in Paris in the late 90s and early 00s. There is even a white mini-T-shirt embellished with ‘Rock Royalty' in studs, for a dose of nostalgia and a homage to a style worn by McCartney herself at the 1999 Met Gala.

Stella McCartney accessories focal point of collaboration with H&M

Alongside the apparel, the accessories include six bags, ranging from small, branded shoulder bags to giant totes featuring McCartney’s famous spherical logo and a timeless chocolate-toned bag with a chain-detail strap. Some pieces incorporate McCartney’s signature Falabella chain, including necklaces and earrings, crafted in recycled metal in mixed tones, ballerina flats in an animal print, white slingback heels with McCartney’s signature sculptural curved heels, and loafers with chain detailing on the front.

For a playful touch, the collection also includes keyrings, one in a bold resin cherry-shaped design and the other in rubber red Stella lettering, as well as GOTS-certified, distinct silk scarves that showcase the collection’s key cherry and horse prints and motifs.

Ann-Sofie Johansson, creative advisor and head of design womenswear at H&M, added: “Stella has always had a bold vision for fashion, and this collection tracks her journey from a young, rule-breaking voice to a master of timeless design.

“Every single piece in the collection is desirable and tells a unique and bold story.”

Prices for the apparel range from 27.99 pounds / 29.99 euros / 39.99 US dollars for a ‘Stella’ branded white bodysuit to 279.99 pounds / 299 euros / 329 US dollars for the oversized car coat in grey melange RWS-certified wool.

The accessories range from 27.99 pounds / 29.99 euros / 39.99 US dollars for the Stella McCartney red keyring to 189.99 pounds / 199 euros / 219 US dollars for the Falabella chain-detailed bag, which has been partly crafted from recycled polyamide.

More than a fashion makeover, the character of Andy Sachs in The Devil Wears Prada offers a lasting lesson in professional fluency, one that still resonates with today’s fashion industry.

When The Devil Wears Prada was released in 2006, audiences watched Andy Sachs change in plain sight as sensible sweaters gave way to Chanel boots and hesitation turned into assurance. On the surface, it read as a fashion makeover. In reality, it was something more enduring: an education.

Nearly two decades on, the film remains shorthand for fashion ambition. But beneath the clothes lies a lesson that feels especially current. Andy’s transformation went beyond appearance, reflecting the kind of professional skill‑building that continues to define early career development in fashion.

From Observer to Insider

Andy begins at the magazine, Runway, as an outsider. She is capable, curious and unfamiliar with the codes of an industry that runs on instinct, context and speed. What changes her trajectory is exposure to how the industry operates from the inside.

She learns how taste is constructed, how decisions are made under pressure and how creativity and commerce coexist within fast‑moving environments.

These are the kinds of skills developed through the BA (Hons) Fashion Communication & Industry Practice at Vogue College of Fashion, where students move beyond observation to active participation.

By learning on the ground and alongside the best in fashion, Andy gained fluency in editorial thinking, brand environments and professional collaboration, understanding not just what fashion looks like, but how it works.

What the Clothes Represent

Andy’s wardrobe evolution is memorable because it visualizes confidence. Each shift in her appearance reflects a growing awareness of context, audience and expectation. As she begins to decode the visual language of fashion, Andy understands how stories are communicated through image and styling and how messaging adapts across platforms and environments.

These principles sit at the core of Vogue College of Fashion’s undergraduate and MA programs. Whether developing editorial content, shaping brand narratives or analyzing fashion within wider culture, the emphasis remains consistent: ideas must be informed, intentional and culturally aware.

Learning the Industry From the Inside

Some of the film’s most revealing moments appear in the day‑to‑day mechanics of the workplace.

We see Andy fielding calls while moving through the Runway office, managing requests, deadlines and expectations simultaneously. As Andy moves at the pace of the office, she begins to understand professional standards: how to prioritize under pressure, respond with precision and operate confidently within a fast‑moving editorial environment.

The work is no longer about keeping up, but about anticipating what comes next. That understanding forms a critical part of fashion education today.

This perspective is explored further in our Master’s programs, delivered in London and online. Students engage critically with fashion through strategy, media, business and cultural analysis, refining their expertise while sharpening their point of view in a global industry.

Development Through Experience

What appears as transformation on screen is, in reality, something steadier and more gradual. Andy’s growth unfolds through exposure, repetition and refinement. By doing the work and beginning to understand where creative authority sits, she learns how to respond and when attention to detail matters more than speed.

This kind of professional confidence develops through context, shaped by time spent engaging thoughtfully with the work itself and the environments in which it takes place.

This philosophy underpins Vogue College of Fashion’s BA and MA programs, where learning is shaped by the realities of the industry. Students are supported as they build confidence through practice, reflection and informed decision‑making.

A Film That Still Speaks

Set between New York and London, The Devil Wears Prada reflects fashion’s enduring centers of influence, offering a glimpse into an industry that has always moved quickly.

Today, fashion professionals are expected to think critically, communicate with clarity and work across platforms. What the film ultimately captures is not a makeover, but a moment of professional recognition. Understanding how the industry works changes how you move through it and how you see your place within it.

Explore Vogue College of Fashion programs

GIFs via Vogue College Editorial; sourced via GIPHY @foxhomeent

LISAA Mode has appointed Karel Mills as its new director. The aim is to strengthen the link between creativity, industry and employability in a sector undergoing transformation.

A graduate of ESAA Duperré, Karel Mills began her career at creative houses, notably with designer Moonyounghee, before launching her own womenswear ready-to-wear brand.

She then worked as an independent designer, collaborating with international players. Mills later joined LISAA, where she progressed from teaching to academic management, taking responsibility for the Fashion Design and Fashion Business courses and leading the development of programmes, specifically the master's degrees.

Appointed following the departure of Thomas Bucaille, Karel Mills now heads Lisaa Mode.

Her educational project is based on a conviction: to train clear-sighted, committed and sustainable professionals who are capable of understanding fashion in all its complexity, far beyond the creative act alone.

“It is essential that they understand value chains, production constraints, human issues and the responsibilities that come with every creative or strategic decision,” Mills told FashionUnited.

In practice, this vision translates into mainly project-oriented courses, with a balance between theoretical teaching, creative workshops, case studies, real-life scenarios and a close link with industry players.

The teachers are mostly working professionals from the creative, business, production or communication fields: “our students learn by doing, by testing and by confronting real constraints”.

Obtaining internships: a central lever for professionalisation at LISAA Mode

“Support for internships and professional development is a key focus at LISAA Mode Paris. We have a dedicated person whose mission is exclusively focused on preparing students for their professional integration and on the link with the fashion ecosystem,” adds the new director.

Mills also intends to strengthen the international outlook through projects and collaborations with partners in Europe, South Africa and Asia, as well as the integration of artificial intelligence and student employability.

She also places great importance on off-site experiences and key events: the fashion show, professional juries and showrooms, organised twice a year for the bachelor's and master's courses.

The Middle East war has plunged Swiss watchmakers into uncertainty, testing the resilience of an iconic national industry already shaken by several crises.

Behind the opulent booths at the Watches and Wonders fair in Geneva, the industry's biggest annual showcase, the conflict is on everyone's lips. The war is not the first crisis that watchmaking has faced in recent years, said Elie Bernheim, the chief executive of Raymond Weil, a family business started by his grandfather that generates approximately 10 percent of its revenue in the Middle East.

"There was the subprime mortgage crisis in 2008," then the arrival of the smartwatch, when "the worst was predicted for the watchmaking industry"; the Covid-19 pandemic and "the US tariffs last year", Bernheim said. And yet, in the long run, "the watchmaking industry has demonstrated considerable resilience", he added.

Over the last 20 years, Swiss watch exports have more than doubled, despite all the challenges. The unusual aspect of current events in the Middle East -- a war which has seen Tehran target Gulf countries in retaliation for US and Israeli strikes on Iran -- is that "nothing can be anticipated", said Bernheim. "Everything can change from one day to the next, we have no control, and I think that is the most destabilising thing," he said.

Uncertain consumer climate

Like many watchmakers, Bertrand Meylan, co-owner of the H. Moser brand, believes the war could have an impact on the global consumer climate. "The longer the conflict lasts, the greater the risk that anxiety will spread to the rest of the economy," he told AFP, noting that "people don't buy during times of anxiety".

On the ground, "brands that depend on tourism are suffering enormously", the Dubai-based entrepreneur said. But with local customers, business continues to thrive, "a bit like during the Covid period", when consumers, unable to travel, had more time and disposable income to buy a watch. His brand generates six percent of its revenue in the Middle East.

10 percent of exports

The Geneva watch fair, which runs until April 20, sees 65 major watch brands, including Rolex, Patek Philippe and Cartier, display their latest creations.

This year's Watches and Wonders comes after two tough years for the sector, with a drop in demand in China followed by US tariffs. Swiss watch exports first fell by 2.8 percent in 2024 and then by 1.7 percent in 2025, to 25.6 billion Swiss francs ($32.5 billion). Last year, the Middle East as a whole accounted for around 10 percent of the sector's exports, which is "already a lot", Yves Bugmann, president of the Federation of the Swiss Watch Industry, told AFP.

For comparison, the United States, the leading market for Swiss watchmakers, represents 17 percent of exports, he explained. Japan comes second, ahead of mainland China, Hong Kong, Britain and then Singapore. The United Arab Emirates is the largest market in the Middle East, ranking eighth among the top 10 destination countries, sandwiched between Switzerland's neighbours France and Germany. Saudi Arabia is the 15th-biggest market, with Qatar 21st, Kuwait 25th and Bahrain 27th.

At the start of the year, Bugmann was "relatively confident" for the industry's prospects in 2026. However, "the war in the Middle East is a game-changer", and it is "too early to make predictions" as to its impact, he said. Everything, he said, will depend on "how the conflict unfolds".

Inspired by the Art of Travel, a concept dear to Louis Vuitton, the Flight Mode collection showcases timeless, sophisticated creations. Ready-to-wear items, leather goods, shoes and accessories continue to enhance the wardrobe of the modern-day globetrotter. The bags are both practical and stylish, the looks are crafted from comfortable materials and designed to appear dynamic, creating the perfect silhouette. They're ideal for any destination, whether you're escaping to the valleys of California, strolling through a verdant park, or wandering along the shores of an azure lagoon.

Each Flight Mode piece captures the spirit of adventure, especially discernible in the collection's hooded bomber jackets, cardigans, flight jackets, and gilets crafted from exceptional leather. They're offered in a range of refined finishes, from supple, grained, and glossy to perforated or velvety soft, and rendered in an array of elegant neutral tones, each design embodying understated sophistication. These handcrafted garments are complemented by pieces in either cashmere or virgin wool, offering exceptional comfort.

Time-honoured denim plays on contrasts. Rendered in a faded blue-grey hue with a new interpretation of the Louis Vuitton Brown Denim Monogram, loose-fitting trousers and jackets alongside sleeveless belted dresses with oversized cargo pockets create an effortlessly relaxed shape. Created for every stage of your journey, blouses, skirts, shirts, T-shirts and parkas with elasticated details stand out in shades of tangerine, rosé, sand, sienna and white. Crafted in cotton poplin, flowing printed taffeta and feather-light washed silk, this sunny collection offers complete freedom of movement.

As the warmer weather approaches, the Flight Mode collection showcases the exquisite white and brown Mahina motif, featured on the iconic Louis Vuitton pyjamas. A second all-over print, inspired by the keys to luxury hotel suites, nods to the first luxury hotel in Paris, once located at 103 Avenue des Champs-Élysées.

Launched in 2024, the Louis Vuitton signature Low Key bag in grained calfskin and suede is offered this season in Moonstone, Quartz and Dark Fango. Its sophisticated yet minimalist hobo design makes it the ideal travel companion. The construction and detailing reflect the House's legacy of craftsmanship. The contrasting central 'V' echoes the signature of Gaston-Louis Vuitton's bespoke luggage, whilst the gold padlock, an iconic House detail adorning the shoulder strap, is engraved with the initials 'LV'.

Another standout piece from the Flight Mode collection is the LV Sneakerina. This distinctly dynamic design with a sleek silhouette celebrates its first anniversary. Combining freedom of movement with agility, it is now available in mule and boot versions. Each pair embodies today's sportswear and urban aesthetic, embracing the spirit of functional elegance. Crafted from either leather, suede or jersey fabric, the two-tone and monochrome styles are designed for everyday wear to enhance any profile from the Flight Mode collection.

US sustainable footwear company Allbirds has announced a radical shift in corporate strategy, transitioning from a fashion retailer to an artificial intelligence (AI) compute infrastructure provider. The San Francisco-based firm, which recently divested its brand assets, intends to rename itself NewBird AI as part of a pivot toward the technology sector.

The announcement triggered a significant reaction on the Nasdaq, where shares surged more than five-fold on Wednesday. The stock increased 435 percent to 13.33 dollars, resulting in a market valuation of 116 million dollars. Despite this recent rally, the company has experienced a substantial decline since its 2021 debut, where it reached a valuation of 3 billion dollars before losing approximately 99 percent of its market value.

Divestment of footwear assets and brand legacy

This strategic overhaul follows the company entering into a definitive agreement to sell the Allbirds brand and footwear assets to US-based American Exchange Group. The asset sale, valued at 39 million dollars, marks the end of the firm's tenure as an independent footwear operator.

The company has executed a definitive agreement with an institutional investor for a 50 million dollars convertible financing facility. This capital is earmarked for the acquisition of high-performance graphics processing units (GPUs) to serve the growing demand for AI compute capacity.

Independent retail consultant Bruce Winder told Reuters that the move appears to be an attempt to capitalise on the current AI movement. Winder expressed skepticism regarding the company's competitive advantage in the sector beyond its existing name recognition. The pivot comes as Allbirds has been closing the majority of its brick and mortar stores due to muted consumer demand and a strategic shift toward online partnerships.

NewBird AI aims to address the global shortage of specialised, high-performance compute resources. The long-term objective for NewBird AI is to evolve into a fully integrated neocloud platform.

The Summer 2026 collection by Vilebrequin introduces the theme “Surnaturalism,” a more vibrant and bold interpretation of surrealism inspired by Saint-Tropez, blending elements of water and earth. The brand celebrates nature through intense colors, imaginative prints, and innovative materials.

This season features new print themes, including marbled effects reminiscent of flowing rivers, X-ray jellyfish, seaweed, 3D bubbles, and a Coral Reef line with a fantastical, ultra-colorful aesthetic.

In terms of textile innovation, Vilebrequin introduces for men a Japanese micro-perforated fabric that is ultra-light and breathable. There are also ramie shirts, combining a linen-like structure with a soft, fresh feel. For women, pieces with a sculpted 3D effect create an elegant and modern visual illusion.

The collection also highlights the new MENO shorts, featuring a shorter cut with a sporty appeal, as well as a series of lightweight tulle pieces for layering, and loungewear in organic cotton available in new colors.

In the accessories category, the brand expands its portfolio with new men’s footwear (embroidered espadrilles, suede loafers, leather shoes) and reinforces its nautical lifestyle with the new Binta bag.

The collection includes two special collaborations, but we will only receive one: 3.Paradis, a Parisian brand known for poetic surrealism, which presents a capsule featuring dreamlike landscapes and flying doves.

French luxury giant Kering has announced a recovery plan as the group continues to struggle. On Thursday, it revealed measures that include more than doubling its operating margin rate in the medium term.

The group began a transformation last year under its new chief executive officer, Luca de Meo. It now aims to achieve an operating margin rate of at least 22 percent in the medium term, it said in a statement, without specifying an exact timeline.

Kering's strategy for its revival

Kering also plans to dedicate 5 to 6 percent of its turnover to developing sustainable organic growth for its houses. The group is also considering targeted acquisitions, particularly to secure its raw material supplies.

The group aims for a “progressive outperformance of the market,” it said, without providing further details. Changes are also being implemented for Gucci, which has particularly struggled in recent years. The Italian brand generates approximately 40 percent of the group's turnover. For Gucci, Kering plans “a strengthened leather goods offering” and “higher quality standards”.

“More targeted local strategies and an optimised distribution model will allow the brand to be more relevant in its markets, strengthen its exclusivity and guarantee its speed of execution,” Kering stated.

Furthermore, the company is considering acquisitions “aimed primarily at strengthening know-how, vertical integration and securing raw materials,” it specified. The group did not disclose the amount that could be dedicated to these operations.

These announcements were made just before Luca de Meo presented Kering's new strategy to investors in Florence, the birthplace of Gucci, on Thursday morning.

Like other companies in the sector, Kering has suffered from a slowdown in recent years. This was caused in particular by weaker demand in China, one of the main luxury markets.

The group has also suffered from a significant decline in Gucci's popularity. The Italian house has a new CEO and a new artistic director, Demna Gvasalia, who presented his first collection in the autumn. However, these efforts have yet to yield results.

In the first quarter, Gucci's sales fell by 14 percent, or 8 percent on a like-for-like basis, which was below expectations. Kering's total turnover for the period fell by 6 percent, remaining stable on a like-for-like basis.

The US-based global retail platform Vince Holding Corp. has reported its financial results for the fourth quarter and fiscal year ended January 31, 2026, revealing a resilient performance despite significant headwinds from the reorganization of Saks Global.

The company is now pivoting toward international flagship expansion and an enhanced direct-to-consumer (D2C) model to drive future growth.

Strategic response to Saks Global reorganization

During the earnings call, executives addressed the impact of the Saks Global situation, which created a sales headwind of approximately 2 million dollars during the fourth quarter. The reorganization also resulted in a 6 million dollar bad debt expense, which significantly impacted the quarterly loss from operations.

Vince chief executive officer, Brendan Hoffman, noted that Saks Global recently represented less than 7 percent of total sales. Hoffman expressed confidence in the current clarity regarding the situation, stating: “We are working with our partners there as they move forward in their plans.”

To mitigate wholesale risks, Vince is deepening its relationships with other key partners. The company reported strong results from its presence in Bloomingdale’s and recently executed successful events with Nordstrom in Dallas and Los Angeles.

International expansion and flagship ambitions

Following the success of its second London-based store in Marylebone, which exceeded internal expectations, the company is looking to gateway cities for further growth. The company has identified Paris as a primary target for a flagship location within the next two years.

Hoffman emphasized that the Marylebone success has raised the bar for international entries. The company intends to focus on high-productivity locations rather than a rapid increase in total store count. Domestically, the strategy involves rationalizing the existing fleet, which ended the fiscal year at 55 company-operated Vince stores, to maximize productivity within current footprints.

The company is increasingly leveraging its digital platform through expanded drop ship capabilities. In spring/summer 2026 (SS26), Vince will introduce handbags, tailored clothing, belts, and accessories to the drop ship model. This strategy allows the brand to offer a broader assortment with minimal inventory risk by utilizing the stock of licensed partners, such as Caleres for footwear.

The menswear business remains a significant growth lever. Men’s apparel represented approximately 24 percent of total sales at year-end, with management targeting a 30 percent penetration rate. This growth is expected to be driven by expanded assortments in physical stores and the e-commerce platform, alongside increased wholesale partnerships.

Fiscal year financial overview

For the fiscal year ended January 31, 2026, total company net sales increased 2.2 percent to 300 million dollars. The growth was primarily supported by a 4.8 percent rise in the D2C segment.

Gross profit was 149.10 million dollars, or 49.7 percent of net sales. Net income reached 6.40 million dollars, or 0.49 dollars per share, compared to a net loss of 19 million dollars in the previous fiscal year. Adjusted EBITDA was 15.10 million dollars, up from 14 million dollars in fiscal 2024.

Despite the quarterly loss from operations of 2.90 million dollars, which was heavily influenced by the Saks-related bad debt, the company’s full-year performance showed a return to profitability. Higher pricing strategies helped offset 250 basis points of pressure from tariffs and 130 basis points from increased freight and distribution costs.

Looking ahead to fiscal 2026, Vince expects net sales to increase between 3 percent and 6 percent year-over-year. The company also aims to achieve an adjusted operating income margin of approximately 3.5 percent to 4 percent as it continues to transition into a multi-brand support platform in partnership with Authentic Brands Group (ABG).

For Kelly Cook, it has been a busy first year as CEO of David’s Bridal. Since taking up the helm position, Cook has enacted a number of initiatives under the transformation strategy, ‘Aisle to Algorithm’, intended to reposition the company as a digital-first global resource for independent boutiques and enterprise accounts targeting the modern-day bride.

The identity shift has seen David’s Bridal move beyond simply serving as a retailer and into an “AI-powered marketplace, media network and planning ecosystem”. Recent launches have included ‘Pearl Planner’, an AI-driven wedding planning agent; ‘Travel by David’s’, a platform for customers to plot out wedding-related trips; an ambassador programme to scale creator-led commerce; and ‘Breaking Bridal’, an original video series covering the weddings of modern couples.

Within its retail network, the company has also applied a future-centric approach, striving for an asset-light model with a vertically integrated supply chain. Its newest store concept, ‘Diamonds & Pearls’, has been established as a premiumised, omnichannel experience now operating from two locations. A recent expansion into Mexico, meanwhile, is carving out a path for broader international growth, after what was described as a “replicable” shop-in-shop format was introduced to the country’s Liverpool retail destination.

In terms of collection, both curation and diversification have been central to the strategy. A renewed exclusive partnership with Vera Wang Bridal, for example, was the beginning of an eventual shift into wholesale for David’s Bridal, which last month established a dedicated division for this arm. The debut of a menswear collection last year, as well as a more recent venture into Indian bridal through a partnership with designer Kynah reflect the potential of emerging markets the company is tapping into to broaden its consumer base.

Collectively, the far-reaching strategy seems to address nearly all touchpoints of a couple’s wedding planning process, while also taking into account the evolving needs of the modern bride. “We have fundamentally moved from a legacy retailer to a high-velocity media content, entertainment, and technology engine,” Cook stated last month. To get more insight, FashionUnited spoke to Cook to discuss the intricacies of David’s Bridal accelerated transformation and what the executive has in store for the future.

On Indian bridal expansion

What led to the decision to enter the Indian bridal market, and why was it a strategic priority for the business now?

At David’s, we exist for magical moments. All of them. We want to serve every bride, everywhere. In doing our research, we were so inspired by the Indian brides, the celebrations, the traditions - not to mention the absolute beauty of the gowns themselves. The weddings unfold over several days, not as a single event, but as a rich tapestry of love, tradition, and togetherness. From the joyful rhythms of the sangeet and the intricate henna patterns painted during the mehndi, to the solemn vows exchanged around the sacred fire, every moment is filled with intention and emotion. That is what David’s is all about.

We knew we needed to serve her. It was a massive opportunity we couldn’t ignore. We partnered with Kynah because their couture-inspired, culturally rooted designs are exactly what the modern global bride and wedding guest is looking for. As I always say, if cauliflower can become pizza, anything can happen and David’s can certainly become the ultimate destination for every culture’s "I do".

How does this expansion fit into your broader vision for cultural inclusivity, and are there other segments where you see similar growth opportunities?

Our "Aisle to Algorithm" strategy is about transforming from a traditional retailer into a marketplace platform for every bride and every celebration style. We’re bridging culture and commerce by bringing luxury and accessibility to fast-growing segments. We’re already expanding into men’s tuxedos through Generation Tux and formalwear for Quinceañeras and homecoming. We’re not just checking boxes; we’re breaking them.

On wholesale expansion

What early indicators showed that your wholesale expansion can complement direct retail as a significant revenue driver, and how is your vertically integrated model helping scale this globally?

The early indicators are very strong. Our wholesale clients are blown away. We can offer them tremendous margin opportunities while providing exquisite, luxurious designer gowns and dresses. We can do this because we own our design centers and production.

We also maintain a “tariff-resistant” production environment due to the vast global operations. We can pivot quickly to “tariff-friendly” environments - these savings, coupled with our vast scale, enables us to pass along better margins to our wholesale clients. One of our first small business partners told us we were saving them double digits on margin. When you can deliver industry-leading margins and faster fulfillment, wholesale isn't just a side hustle - it's a global engine.

How do you ensure that supporting independent boutiques through wholesale doesn’t dilute your own brand equity or differentiation?

The strategy is different. We win when we serve a bride - whether she buys it directly from us, one of our many marketplace partners, from DoorDash, or one of our boutique clients.

Better yet, all of our partners can maintain exclusivity. Our initial wholesale offering features capsule collections from iconic names like Vera Wang Bride, Oleg Cassini, Viola Chan Couture, Galina Signature, and more, that are developed specifically for wholesale partners—you won’t find these exact gowns in our own stores. We want to provide stunning gowns to all brides, whether they buy from us or an amazing boutique partner, while keeping our own retail experience distinct.

On the Diamonds & Pearls retail concept

A year on from the launch of Diamonds & Pearls, how is this elevated concept affecting in-store conversion, customer lifetime value, and online engagement?

The response has been electric. Brides are head-over-heels for the boutique-style environment and personalised styling, especially for exclusive designers like Marchesa. It validates our vision that today’s bride wants a "tech sandwich": high-tech digital tools on the front end during inspiration and the back end while planning, but a high-touch, sacred experience when she’s standing in front of that mirror.

How are you using insights from this tech-enabled, high-touch retail model to guide where and how you scale, and how does the integration of couture-level products with AI-driven personalisation shift the store’s role from a point of sale to a hub of discovery and engagement?

Diamonds & Pearls is our laboratory for the future. By using AI like Pearl Planner to handle the 300-task planning "headache," the store stops being a place of transaction and starts being a place of magic. We’re using data to de-stress the bride so she can focus on the dream, not the spreadsheet.

On Mexico and beyond

How does the shop-in-shop model in Mexico complement or extend your elevated retail strategy, and what early insights from this partnership are shaping your approach to global customer acquisition and localised merchandising?

Our Shop-in-Shop model with Liverpool is exceeding our expectations. Our Shop-in-Shop brides are not only the “household CEOs” making all of the brand decisions for the family, but also at an age which is desirable for partners: 24 years old on average.

We are excited to bring this model to more and more of our department store partners. Our franchise locations in Mexico and our expansion into international wholesale are all part of our growth strategy. It allows us to scale our brand and our vertically integrated production platform to new markets without the heavy overhead of traditional expansion.

With the launch of Breaking Bridal, what role does original programming play in driving measurable business outcomes, and how do you see David’s evolving its content ecosystem as you expand further into entertainment?

Breaking Bridal is where bingeable storytelling meets commerce. We’re reaching 20 million viewers a month across our Pearl Media Network. Each episode is connected back to our planning tools and shoppable moments. Inspiration fuels planning, planning fuels purchasing, and purchasing fuels the community—that’s the flywheel that drives real growth.

Looking across your newer ventures, from wholesale and retail innovation to cultural expansion, which do you expect will most significantly redefine David’s Bridal over the next three years, and are there other unexpected opportunities on the horizon?

Our agentic AI, specifically Pearl Planner, is the real game-changer. It’s turning us from a dress retailer into a tech-enabled planning partner for the entire 70 billion dollar wedding market. In the future, a bride will give us a few prompts, we’ll build a fully immersive AR wedding, and she’ll hit one button to buy it all. Done.

On leadership and teamwork

You stepped into the CEO role at a pivotal moment. What has surprised you most about the business or the customer over the past year? How has your leadership approach evolved as you’ve guided the company through a significant transformation?

I started on April Fool’s Day, but the transformation has been no joke! I was surprised by how ready this industry was for a revolution. But I was mostly so incredibly energised by a team of dream makers, our employees, who want to set this industry on fire. They are bold, strategic, passionate and unapologetic about serving her - and pivoting a 75-year old retailer into a global retail, media, AI, and planning marketplace.

Internally, how have you brought teams along on this shift from a traditional retailer to a more tech- and media-driven company? What has been the biggest cultural change inside the organisation as you move toward an ‘Aisle to Algorithm’ model?

It’s all about the "servant’s heart" - you approach every conversation, every interaction, every conflict with: how can I serve her or serve the person who is?

Talent is everything. Getting the right talent is sort of like assembling Ikea furniture - if you pick the wrong part, nothing fits, and someone ends up crying.

I tell my team - if you look around your circle and you aren’t inspired, then you don’t have a circle, you have a cage. We take what we do seriously, but not ourselves. No egos. Just a fun, focused, fearless team.

What does success look like for you, not just financially, but in how brides and partners experience the brand? On a more personal level, what excites you most about redefining a brand like David’s Bridal for a new generation?

More happiness, more kindness, more joy. That’s what wakes me up every day. The world is running on three percent battery, caffeine, and too much bad news. People fussing at each other online, traffic making us question our will to live, and news treating every Tuesday like it’s the apocalypse.

We need more happiness. More kindness. More joy. Real, stupid, contagious joy! One of the only things still free! You can give it away all day and somehow you end up with more of it. It’s like magic, except it actually works.

David’s exists for magical moments. It’s a fantastic business to be in. We remember how we make each other feel. Ridiculously kind. Laugh louder. Dance badly in public. Ha! Just typing this answer puts a huge smile on my face!

We want brides to feel completely supported from the moment she gets engaged to the moment she forms her new household. What excites me is proving that a 75-year-old legacy brand can reinvent itself and win. We’re just getting started!

This article was conducted in writing.

The big news in denim for FW26 is the return of the slim-leg jean, signaling a shift toward more refined silhouettes in ready-to-wear. The collection features a full spectrum of washes, from light blue to deep indigo, with a continued emphasis on distressing and abrasion. Embellishments like diamante and studs remain prominent, while the trend for coordinated sets continues with new matching denim tops and bottoms.

Surface Interest

Designers employed a variety of techniques to enhance denim's visual appeal. Key methods included intricate embroidery and appliqués, alongside burnished or metallic finishes, heavy distressing, and artisanal patchworking.

Diesel FW26 by Glenn Martens

Highly distressed denim jeans with diamante studs and an integrated sheer, floor-length tulle overlay.

Christian Dior FW26 by Jonathan Anderson

Pale blue denim jeans featuring scalloped patterns of crystal embroidery inspired by Dior’s ‘Junon’ dress of 1949.

Stella McCartney FW26

Relaxed-fit patchwork denim jeans with contrasting light and medium blue washes.

Ann Demeulemeester FW26 by Stefano Gallici

Light blue relaxed, wide-leg denim jeans with patches and heavy distressing.

Slim Jeans

The classic five-pocket jean with a slim leg is making a comeback for the FW26 season. Channeling the early 2000s, designers showed high-waisted silhouettes and occasional ankle-zip details. This trend spans a broad spectrum of washes, from light stonewashed finishes to deep, dark indigos.

Balenciaga FW26 by Pierpaolo Piccioli

High-waisted, slim-fit dark wash jeans with a cropped, olive-green utility-style jacket.

Gucci FW26 by Demna

Slim, high-waisted denim jeans in a light blue wash with a black leather turtleneck and fur stole.

7 For All Mankind FW26 by Nicola Brognano

Light blue wash jeans with ankle zips, a grey henley and black coat.

Isabel Marant FW26 by Kim Bekker

Classic medium-wash straight-leg denim with a mid-rise fit. bright red faux fur jacket featuring a boxy silhouette and an oversized collar.

Full Leg Jeans

While slender legs were prominent, fuller silhouettes remained a staple on the FW26 runways. Designers refreshed this enduring trend by tapering the denim at the ankle, creating a more defined and contemporary shape.

AWGE FW26 by A$AP Rocky

Wide-leg, barrel-shaped blue jeans with structured seam details and a tapered ankle. A cropped, quarter-zip AWGE leather racing jersey.

Dolce & Gabbana FW26

Dark-wash, ultra-wide-leg "puddle" jeans with distressed detailing, rips at the knees, and strategic fading and a long sleeved black satin bustier top.

Moschino F26 by Adrian Appiolaza

High-waisted, light-wash denim trousers with a baggy, "balloon" leg silhouette and distinct front pleats with a blue and white vertical striped puff sleeved shirt.

Tom Ford FW26 Haider Ackermann

Deep blue wash denim jeans with fading at the knees, featuring a tapered or "low slung" boyfriend-style fit with cuffed hems, a black mesh top and tweed blazer

Denim-on-Denim

Designers have expanded on the classic denim-on-denim look this season, introducing an array of sophisticated, coordinated sets that go beyond the traditional jacket and jean pairing.

Conner Ives FW26

A light-wash denim jacket featuring gold frog knot embellishments and straight-leg, medium-rise pants accented with golden embroidery and trim along the pockets and side seams.

Kseniaschnaider FW26 by Ksenia & Anton Schnaider

A cropped bustier with horizontal paneling and seam detailing, with a matching mini-skirt and knee-high boots.

Tolu Coker FW26

A denim jacket in a dark indigo wash with an asymmetrical zipper, dramatic pleated peplum detail, and architectural sleeves with matching wide-leg denim pants.

Zadig & Voltaire FW26

A high-neck denim jacket paired with a coordinating knee-length skirt. The skirt is detailed with intricate floral-like rhinestone and bead appliqués and a raw, frayed hem.

California-based outdoor apparel brand Patagonia has named Amanda Calder-Mclaren as its new senior director of marketing and impact for Europe, the Middle East and Africa (EMEA) to boost how the brand communicates its values and environmental and social impact work across the region.

In the newly created role, Calder-Mclaren will bring together Patagonia’s marketing and impact work, “uniting storytelling and action” by working closely with global leadership, EMEA teams and local communities.

Nina Hajikhanian, general manager for EMEA at Patagonia, said in a statement: “This role will bring greater focus to how Patagonia builds its brand and drives impact as a responsible business in EMEA, recognising that the two are inseparable.

“Amanda brings the experience and vision to lead this work across the region. She is a storyteller driven by purpose, with nearly two decades of experience in the outdoor and apparel industry, and a leadership approach rooted in community. We’re excited to welcome her to the team and to have her help guide this next chapter across the region.”

Calder-Mclaren, who will be based at Patagonia’s European headquarters in Amsterdam, has worked across several sports and outdoor brands, including Adidas Terrex, Technogym, Wahoo and The North Face, where she served as senior brand marketing director EMEA, leading major brand campaigns alongside programmes designed to broaden access to the outdoors. She also served as chief marketing officer at Montirex, before most recently holding the role of global vice president of brand communications at Hugo Boss.

Commenting on her new role, Calder‑Mclaren added: “Patagonia stands apart because it proves that profit and responsibility can work in harmony. It’s not anti-growth but anti-greed - and that ethos is what I respect so deeply.

“The outdoors has shaped my life, from time spent in the mountains to the sense of connection it creates. I’m proud to join Patagonia as a custodian of the brand and to help carry that spirit forward across EMEA.”

Stock of Hermes International SA (HESAF.PK) is falling about 8 percent on Wednesday morning trading after the company reported a decline in revenue for the first quarter, to 4.070 billion euros, compared to 4.129 billion euros, last year.

The company's stock is currently trading at 1,635.00 euros, down 8.30 percent or 148.50 euros, over the previous close of 1,783.00 euros on the Paris Exchange. It has traded between 1,529.00 euros and 2,606.00 euros in the past one year.

Revenue from the ready-to-wear and accessories business fell to 1.076 billion euros from 1.149 billion euros in the previous year. Revenue from the watches business stood at 135 million euros as against 151 million euros a year ago

Paris, France - Children's fashion brand Jacadi could come under the control of the Deveaux group. The group has notified the Competition Authority of a proposed merger, the authority confirmed on Wednesday, corroborating a report by the Ouest-France newspaper.

Jacadi has been owned by the northern French group IDKIDS since 2005, which has been placed into receivership. The proceedings affect its brands Obaïbi (clothing for 0 to 3-year-olds), Okaïdi (3-14-year-olds), Oxybul (educational toys) and the logistics platform IDLOG. Jacadi is excluded from this process.

IDKIDS praised Jacadi’s “growth trajectory”, which achieved the “best performance in its history” in 2025 with a 35 percent increase in profitability.

“The Competition Authority has received notification of a proposed merger (...), consisting of the acquisition by the Deveaux family of exclusive control over the Jacadi group,” the competition watchdog wrote on its website.

The Deveaux family operates in the womenswear and menswear sector through the brands Armand Thiery, Toscane, Edji and Jacqueline Riu. It is also active in the textile manufacturing and dyeing sectors, the Competition Authority added.

The authority's role includes reviewing all proposed takeovers and mergers above a certain size in advance. This is to prevent the formation of overly dominant positions or monopolies. The review period can last for several months.

In early February, the international investment firm Blue Water Venture Partners, led by New York-based investor Joseph Hernandez, announced its intention to buy the children's fashion brand Jacadi Paris. When contacted, Jacadi had not yet responded to AFP's requests for comment.

Launched at the end of January by the Confédération des petites et moyennes entreprises (CPME), the Made in France Alliance is part of a drive to revive national industrial production.

Three months later, as new economic models redefine value dynamics, particularly those driven by the creator economy, the alliance has highlighted a series of objectives to enhance national production and recreate value within the country.

This initiative, led by the CPME, was co-founded with the CFTC; the CFE-CGC; the Made in France trade show; the Origine France Garantie label; the Union des Industries Textiles (UIT); and the Réseau Excellence EPV (Living Heritage Company).

The Made in France Alliance brings together employers' organisations, social partners and industry players around a common goal: to strengthen French industrial production in the country.

“Made in France” is seen as an economic and social project set against a competitive backdrop: pressure from Chinese ultra fast fashion platforms and the need to respond to ecological and digital transitions.

The macroeconomic objective is to increase the industry's share of GDP from 9 percent to 13 percent.

Public procurement, a central but under-exploited lever

Public procurement is considered an immediate driver of activity for SMEs. It represents at least 170 billion euros per year. However, only 22 percent of purchases are currently directed towards French production.

The challenge is to move beyond a logic based solely on price to integrate broader criteria such as local employment, tax benefits and the impact on local areas. According to a study by the UIT and KPMG, a company producing in France would reinvest an average of 84 percent of its turnover into the national economy, compared to 35 percent for an importer.

Training needed to meet industrial demands

Companies, particularly SMEs, face recruitment difficulties, especially for technical roles.

The objective is to adapt training provision to the needs of the productive fabric, while enhancing the attractiveness of industrial professions. This upskilling is seen as a way to secure career paths and to support innovation and the upscaling of French production.

Directing savings towards productive investment

The third focus is financing the industry through better mobilisation of savings. While French savings are considered abundant, they are still not sufficiently directed towards productive companies.

The Alliance thus intends to identify mechanisms to channel more capital into industrial investment, particularly towards SMEs. The challenge involves both modernising production tools and relocating certain activities.

For these three action levers, the Alliance advocates a structured approach based on prioritising projects, implementing concrete measures and long-term monitoring. Its action now depends on their inclusion in the political agenda.

French sporting goods retailer Decathlon will officially open its innovative new location at Ikea Croydon on April 24, 2026. This collaboration represents a world-first retail partnership between the two, designed to streamline the shopping experience for South London consumers.

The opening celebrations are scheduled to begin at 11am on Friday, April 24, where the first 100 customers will receive a signature Quechua NH100 10 litre backpack and a 20 pound gift voucher. This incentive program will continue through Saturday, April 25, requiring visitors to present a Decathlon Membership account for eligibility.

To mark the launch, the storefront will be converted into a family-oriented sporting environment on Saturday. The event schedule includes a climbing wall, live DJs, and various sporting challenges where participants can win equipment through a ‘Spin to Win’ activation.

Strategic retail integration in Croydon

Situated on the existing Ikea Croydon site, the 1,188 square metre store will house more than 5,000 products. The inventory spans over 70 sports, including technical equipment for cycling, hiking, running, and swimming.

The partnership aims to capitalise on consumer demand for convenience by allowing shoppers to fulfill home and sporting needs in a single visit. The location will also feature the Decathlon Buyback initiative from its first day of operation.

This circular economy program allows customers to trade in second-hand fashion and equipment for store credit. Additionally, the site will serve as a point-of-sale for click and collect services, providing access to the retailer's full digital catalogue.

Decathlon UK expansion and 50th anniversary

London City director at Decathlon UK, Monica Cedres, stated that the partnership is intended to make an active lifestyle as accessible as a trip to Ikea. Cedres noted that the team is ready to help South London discover the joy of being active together.

The Croydon opening is a significant development in the history of the French brand, which originated in Lille in 1976. Since entering the UK market in 1999 with a store at Surrey Quays, the company has expanded its presence to over 70 countries.

This new format serves as a prelude to the 50th anniversary of the brand in 2026.

There are summers you remember. A Levi’s® Summer you never forget. Starting in May, the Levi’s® brand is launching “A Levi’s® Summer,” a campaign built around a simple but powerful idea: Levi’s® shorts are summer.

Tapping into the collective desire to put the phone down and reconnect with what is real, the campaign positions Levi’s® denim shorts as the way back to that classic, era-defining moment for every body and every vibe.

The campaign’s visual identity is unlike anything the brand has done before. Shot entirely with a focus on shorts, the imagery pairs Levi’s® product details – the Red Tab™, cut-offs, jorts, button fly, the Arcuate – with sensory cues of a pre-internet summer: hot dogs and frayed hems, pink hair and fringed denim, the pop of a can and the snap of a button fly.

Rendered through a Y2K lens with close crops, flash color, grain and lo-fi digital treatments, the result is a visual language that is nostalgic, irreverent and instantly recognizable. Phone down. Shorts on. Nothing to check but the weather.

At the center of “A Levi’s® Summer” is the brand’s most comprehensive shorts range to date – featuring every cut, every length and every shade. For women, the 501® Original Short remains the iconic staple, defining the waist and hugging in all the right places.

The Ribcage Short Zip delivers a flattering high-rise in a cut-off silhouette, while the Baggy Dad Jort offers a longer, more relaxed fit for those embracing the oversized aesthetic. Each style is available in multiple washes and sized inclusively across the full range.

For men, the 478™ Baggy Short anchors the assortment with a roomy, laid-back silhouette built for warm-weather ease, alongside non-denim options like the XX Authentic Relaxed Shorts and the Baggy Pleated Short.

Rounding out the head-to-toe summer story, the collection includes the Short Sleeve Boxy Western shirt, the Red Tab Vintage Tee, the Sunset Camp shirt, the Helen Mini Bouclé Vest and more statement tops. The expansive assortment offers everything needed to build the coolest summer you’ve ever lived.

“A Levi’s® Summer” is the summer other summers try to live up to. The campaign debuts across out-of-home, paid media, organic social and levi.com beginning in May, running through July, with creator-led content sustaining the energy throughout the summer.

The Spring/Summer 2026 collection will be available for purchase online, on the Levi’s® app and in select Levi’s® stores.

Pensole Lewis College of Business and Design (PLC Detroit), America’s only design-focused historically Black college and university (HBCU), is making costume design education accessible with a free digital learning course, developed in collaboration with two-time Academy Award-winning costume designer Ruth E. Carter and sportswear brand Adidas.

The PLC Detroit x Adidas x Ruth E. Carter costume design programme is accessible through the college’s ePLC platform and features four video modules, offering insight into storytelling and costume design.

Carter, an HBCU graduate of Hampton University and PLC Detroit's first artist-in-residence, has developed the curriculum around her approach to Afrofuturism, blending culture, imagination, and storytelling to demonstrate how design informs character and world-building, drawing from her more than three-decade career spanning over 70 credits across film, television, and theatre, including films such as ‘Sinners’ and the ‘Black Panter’ films.

The four-part course covers Carter's creative methodologies, including character development, research techniques, visual storytelling, and strategic problem-solving, to give students practical tools to translate ideas into compelling visual narratives, strengthen their creative decision-making, and develop a deeper understanding of how storytelling shapes both career pathways and personal voice across disciplines.

Commenting on the course, Carter said in a statement: "Afrofuturism has always been about expanding our imagination, about seeing ourselves in worlds that honour our past while designing the future. Costume design is storytelling. It requires research, cultural respect, and the courage to continually evolve your craft. I'm proud to be part of a collaboration like this.

“Support from institutions like PLC Detroit and partners like Adidas is critical because it invests in the growth and development of artists. When brands champion creative education, they help open doors for the next generation of designers to discover their voice, shape their vision, and step fully into their purpose."

D’Wayne Edwards, president of PLC Detroit, added: "Our relationship with Ruth E. Carter began with a Masterclass, where she guided four PLC students in designing dresses for her awards ceremonies.

"In 2025, she collaborated with PLC alumni on the Ruth E. Carter Apparel Creation Stu/Deo by adidas. Today, we invite aspiring creatives worldwide to learn from her through our online platform, ePLC. Her groundbreaking career inspires us to open doors for the next generation to shape the future of design."

American activewear brand Vuori has appointed Heather Archibald as its new chief product officer, effective April 20, to advance its “product‑first vision built on innovation and performance”.

In the newly created role, Archibald has been tasked with leading the end-to-end product organisation and overseeing the lifecycle of the product portfolio from design and development to merchandising, raw material planning, production and sourcing strategy.

The new role aims to advance Vuori’s global product strategy and innovation roadmap, states the California-based brand, while also shaping its line and assortment architecture and investment strategy, and continuously elevating the brand and product experience.

Joe Kudla, founder and chief executive of Vuori, said in a statement: “This is an exciting moment for Vuori as we continue to build on our strong momentum and invest in the capabilities that will carry us forward.

“With Heather joining the brand, we’re reinforcing our commitment to a product-first approach, deepening innovation, sharpening storytelling and assortments, and bringing even greater rigour to how we scale while maintaining a deep connection with our consumers.”

Archibald will join Vuori from footwear brand Rothy, where she served as chief product and merchandising officer. Before Rothy, Archibald held various product leadership roles across global brands, including as chief product officer at Title Nine, and product and merchandising leadership roles at both Restoration Hardware and Gap Inc.

Commenting on her new role, Archibald said: “Vuori has built something truly distinctive at the intersection of covetable, high-quality product, its strong ‘Built to Move In. Styled for Life’ north star and a clear, sustainable mission, each setting the stage for an unbelievable future.

“I’m honoured to join the brand on this growth journey. It's an exciting time for us to continue elevating the product experience through innovation and grounded in our deep understanding of the consumer.”

Archibald’s appointment follows Vuori naming Tom Holland as “a creative, strategic, and financial partner,” after signing a multi-year partnership with the British actor, producer, and entrepreneur.

Founded in 2015, Vuori has quickly established itself as a category leader in the activewear and lifestyle market and hit its 100-store milestone in late 2025. It currently serves consumers across close to 30 countries and is continuing to drive growth with a focus on key markets in the US, Europe and Asia. By the end of 2026, Vuori expects to add 25 additional new locations, including 15 international store locations.

British streetwear brand Hoodrich, founded by Jay Williams from his bedroom in Birmingham, is launching its inaugural footwear collection in the US exclusively with JD Sports, in partnership with the Eastman Group, a global footwear and apparel licensing company.

Hoodrich, which became part of the Iconix International group in November 2023, has been accelerating its global expansion strategy, and its US footwear launch marks a key milestone in its next phase of growth.

The streetwear brand’s founder, Williams, worked closely with Eastman’s design team to ensure that the footwear line stayed true to the brand’s roots, while drawing on inspiration from London, Los Angeles, Miami, and New York City “to reflect the mindset of today’s consumer,” as well as a differentiated offering for the US market.

“Hoodrich entering the footwear market is a natural next step for the brand, and an exciting opportunity for continued global growth,” said Williams in a statement.

The debut footwear collection for men has been engineered to “stand apart in a crowded marketplace,” and features sneakers and sandals designed to complement Hoodrich apparel. At the centre of the collection is the Recon, a bold, chunky cupsole sneaker, which retails at an accessible 100 US dollar price point and is available in three colourways. The sneakers sit alongside two city-inspired sandal styles.

The brand is launching with a menswear offering, and adds that a women’s collection “is expected to follow”.

Bob Galvin, chief executive of Iconix International, added: “Expanding Hoodrich into footwear is a strategic evolution of the brand and a direct response to what our customers have been asking for.

“This launch allows us to meet that demand while delivering product that stays true to Hoodrich’s DNA, authentic, elevated, and rooted in culture.”

Williams founded Hoodrich in 2014, built it around the mantra “From Nothing to Something,” as he started the brand with just 200 pounds and sold T-shirts from the boot of a car. Now it is one of the fastest-growing streetwear brands, distributed in nearly 1,000 retail locations across 24 countries, and has partnerships with JD Sports and Footasylum.

FARFETCH, the global platform for luxury, announces the exclusive arrival of the Dolce&Gabbana x ‘47 collaboration. In a move that defines the intersection of high-fashion craft and heritage sportswear, this collaboration is available exclusively on FARFETCH and Dolce&Gabbana, making it the only global destination where collectors can secure these limited-edition pieces.

More than a seasonal drop, this collaboration connects Dolce&Gabbana’s luxury DNA with ‘47’s deep-rooted American sports legacy, which positions these exclusive items and limited collection as genuine investment pieces.

Doralice Belli, Head of Merchandising at FARFETCH, said: “For the FARFETCH customer who champions the unconventional, access to this exclusive collection provides a bold and vibrant canvas to express their unique identity. Because this partnership is available only on FARFETCH and through Dolce&Gabbana, we are offering our community the opportunity to own a cultural piece that collectors won’t miss.”

This exclusive collection features 20 iconic baseball caps that collectors, MLB enthusiasts, and style creatives alike won’t want to miss. Each cap in this selection has been completely reinvented with the unmistakable hallmarks of Dolce&Gabbana, paying homage to three of the most revered franchises in baseball: the Los Angeles Dodgers, the New York Yankees, and the New York Mets.

Norrøna is expanding its network of locations and opening its first dedicated flagship store in the United Kingdom.

The new ‘Norrøna Hub’ is opening at 15 Regent Street, Cunard House, London. The Norwegian outdoor brand announced this on Tuesday via the professional networking site LinkedIn. “London is one of the most important and inspiring cities in the world,” said Norrøna CEO Jørgen Jørgensen.

According to the brand’s website, it was already represented by several retailers in the region. These included Outside Ltd in Hope Valley; The Outdoors Company in Congleton; Biketreks in Kandal; and Nordic Outdoor in Edinburgh. However, Norrøna did not appear to have a presence in London until now.

The exact opening date for the store is not yet clear. However, it will stock the complete range of apparel and equipment, including ski/snowboard, outdoor/hiking, mountaineering, mountain biking, trail running, and surfing.

“For all of us at Norrøna, opening a flagship store in London is of extraordinary importance,” said Bård Kvamme, retail director at Norrøna, in his own LinkedIn post. “This is not only because Norwegians and Britons are closely connected, but also because we can now truly affirm our presence in one of the world’s most significant centres for shopping and experiences.”

The family-run company, led by Jørgensen in its fourth generation, operates more than 40 proprietary stores. The majority are in its home market. However, there are also stores in other European cities such as Munich, Zurich, Chamonix, and Stockholm, as well as in the US – New York, Boston, and Boulder – and in Beijing, China.

Additionally, the brand opened a new showroom in Austria early last year. This was to respond to “the strong demand and significant growth” in that market, the company announced at the time.

Samsøe Samsøe introduces Samsøe Core, a permanent collection of wardrobe foundations designed to live beyond a season. Rooted in simplicity and longevity, the collection reflects a refined approach to everyday dressing; where clean silhouettes and considered proportions meet a muted palette.

At its essence, Samsøe Core defines the pieces you return to; with a focus on clarity in design and ease in styling, the collection forms the starting point of a wardrobe built to last.

Samsøe Core will remain as a continuous presence within our assortment; evolving constant rather than a seasonal statement with clean lines and refined construction ensure longevity, while understated tones allow for effortless integration into everyday wear and to sit effortlessly alongside what you already own.

The curation brings together a series of essential pieces that are simple, versatile, and enduring by design.

Created to be worn season after season, each garment is developed with ease in mind; easy to combine, easy to repeat, and easy to rely on. It forms a consistent base within our universe, offering wardrobe foundations and remain relevant throughout the year.

Its strength lies in its restraint: refined proportions, clean lines, and a focus on pieces that support rather than define. These are the styles you build on, an understated framework for a modern wardrobe.

The product takes centre stage in the campaign captured through the lens of Olivia Frølish. Radiating a sense of calm through clean, crips styling with subtle references to skin and water evoke a feeling of purity and fluidity, reinforcing the collections refined aesthetic. At its core, Samsøe Core defines the pieces you return to.

A permanent collection shaped by clarity and intention, it is where your wardrobe begins.

American retail group Gap Inc., which includes Gap, Old Navy, Banana Republic, and Athleta, is partnering with the Fashion Institute of Technology (FIT) in New York City to launch a new mentorship programme designed to bridge the opportunity gap for emerging fashion talent.

The Doris Fisher Creators Programme has been named in honour of Gap Inc. co-founder Doris Fisher, to reflect “her legacy of creativity, curiosity, and belief in people,” while also building on the retail group’s commitment to create “stronger connections between education and careers in the fashion industry”.

Richard Dickson, president and chief executive of Gap Inc., said in a statement: “Gap Inc. is a house of iconic American brands guided by our purpose, to bridge gaps to create a better world. That includes bridging the opportunity gap.

“FIT embodies that same spirit, bringing education and industry together to unlock talent and expand what’s possible. We’re committed to opening doors, investing in emerging creatives, and building meaningful pathways into this industry for the next generation.”

The Doris Fisher Creators Programme will launch in fall 2026 and run through the academic year, connecting FIT students with Gap Inc. leaders and creatives through a structured mentorship experience to provide exposure to the fashion business, industry insights and professional connections.

The inaugural cohort of students will be selected from fashion design, graphic design (apparel) and fabric styling.

Amy Thompson, chief people officer at Gap Inc., said: “Supporting emerging talent is a core expression of Gap Inc.’s purpose in action. Through initiatives such as The Doris Fisher Creators Programme, alongside This Way ONward, the Rotational Management Programme, and our broader internship and mentorship efforts, the company continues to bridge the opportunity gap for young people looking to start meaningful careers in fashion and retail.”

Jason S. Schupbach, president of FIT, added: “We are incredibly proud to be the first public college to partner with Gap Inc. on this groundbreaking mentorship programme. This remarkable opportunity with one of the world’s most iconic brands will support 30 talented FIT students over the next year, placing them at the intersection of innovation and impact.”

Alessi and C.P. Company present their first collaboration, unveiled during Milan Design Week 2026. Bringing together industrial design and workwear, the project creates a unique dialogue between objects and garments, both rooted in experimentation, craftsmanship, and evolving archives.

At the core of the collaboration is the factory as a creative space – where ideas are tested, refined, and shaped through human expertise and hands-on processes. Inspired by Umberto Eco’s concept of the “Open Work,” both objects and garments are designed to evolve over time, gaining character through use. A shared ritual-coffee symbolizes the beginning of the creative process, connecting both brands’ heritage in Omegna and Bologna.

The Collection

The collection features iconic Alessi objects reimagined in a black PVD finish, alongside a Nylon B overshirt in three exclusive colours. Highlights include a limited-edition 9090 espresso maker (999 pieces), as well as cups, mugs, and the Arran tray. Each item undergoes manual sandblasting and PVD coating, enhancing depth and durability while allowing surfaces to evolve with use. C.P. Company’s overshirt, made from garment-dyed Nylon B, draws inspiration from industrial uniforms and features a custom Lens detail combining both brands’ identities.

The Event

The collaboration launches with the immersive installation “BLEND: The Kinetic Pulse of Italian Industrial Mastery” at the C.P. Company showroom in Milan from April 21, 2026. The collection will be available during Design Week and through official channels, both individually and as a limited-edition set. Accreditation available upon request.

Kane Footwear, which focuses on active recovery shoes, is strengthening its ties to professional sports after naming Will Anderson Jr., Houston Texans defensive end and 2023 NFL defensive Rookie of the Year, as its first NFL athlete.

John Gagliardi, founder and chief executive of Kane Footwear, said in a statement: “We’ve waited a long time to find the right professional partner for Kane, and we wanted to work with an athlete that understood the benefits of our shoes and already wore Kane as part of their preparation.

“We couldn’t have asked for a more talented and dedicated athlete to join our roster and set the bar for performance at Kane. Kane has always been inspired by elite athletes; we take their feedback seriously, and it helps us build better products. Having Will Anderson Jr. as a part of the team will give us even further insight on where we can improve and innovate to make recovery seamless and impactful for athletes everywhere.”

The American footwear brand adds that the partnership with Anderson Jr. originates “organically” from the NFL player's personal recovery journey, where he wore Kane Footwear’s ‘Revive’ products in his post-activity recovery routine.

Anderson Jr. added: “Kane has been an integral part of my recovery routine for years. Prioritising recovery in all off-field moments is vital for me to stay healthy and perform at my best. Kane makes the process of recovering my feet and legs easy, even when I'm on the move.”

The partnership follows Kane Footwear’s Revive OB launch, the brand’s first open-backed recovery shoe, inspired by professional athletes and the team sports world, and designed for “in-between activity moments”.

Kane Footwear’s recovery shoes are designed with Dr Daniel Geller, the brand’s chief medical officer, podiatrist, and foot and ankle surgeon, to provide active recovery benefits for the feet and legs. Key features include raised footbed nodes to activate blood flow and pressure points, a lightweight slip-on design that comfortably captures the heel, arch, and instep, smooth transferability and energy from heel to toes, dual-density construction for generous cushioning and active support, and oversized channels and siped soles to provide flexibility and traction.

Paris, France - Having transitioned from a fashion icon to a thorn in the side of French luxury group Kering, Gucci must now reinvent itself to avoid further weighing on its parent company's accounts.

The luxury giant, which also owns Yves Saint Laurent, Bottega Veneta, Kering Eyewear and Boucheron, will present its strategy to investors on Thursday in Florence, Gucci's birthplace. Particular attention will be paid to its plans for the double G brand.

Luca de Meo, the former head of Renault appointed as Kering's chief executive officer in 2025, must work his magic on the Italian house. He needs to rekindle the brand's former brilliance. The financial stability of the entire group is at stake, as Gucci accounted for approximately 40 percent of its turnover in 2025.

While Tom Ford's tenure as artistic director from 1994 to 2004 represented a golden era for the house, subsequent creative choices have been less successful. This has led to a significant drop in sales over the past three years.

"In this sector, you sell something that consumers desire. If you give too much of something people love, eventually they will no longer want it," analyses Luca Solca, an industry specialist at Bernstein. "With the rise of streetwear, Gucci became ubiquitous... To some extent, this killed its desirability," he added.

Ingredients

Flavio Cereda, director of investments at Gam, shares a similar view. "Gucci has had issues with distribution, products and pricing," the specialist told AFP.

This decline in popularity is reflected in the figures, which is particularly stark against the backdrop of a slowdown affecting nearly all luxury players. After peaking at 10.5 billion euros in 2022 (12.38 billion dollars), Gucci's turnover has steadily declined, falling to approximately 6 billion euros last year.

Hopes are now pinned on the house's new artistic director, Demna Gvasalia, who joined in early 2025. His debut show took place in Milan in February, following a preliminary collection presented in September. "My vision for Gucci is based on the coexistence of heritage and fashion... Gucci only exists when the two are in harmony, when each one nurtures the other," he explained in a letter published in February, outlining his vision for the brand.

Since September, Gucci has also had a new CEO, Francesca Bellettini, who was previously Kering's deputy chief executive officer. Will these changes be enough? In the first quarter of 2026, Gucci's sales fell again by 14 percent to 1.35 billion, according to figures released on Tuesday. On a like-for-like basis, however, the decline was smaller than in the fourth quarter of 2025, at 8 percent compared to 10 percent.

According to analysts at HSBC, 2026 could mark a rebound, with an acceleration in the second half of the year. "It is the largest Italian luxury brand. It has the heritage, the distribution; it has all the ingredients," noted Flavio Cereda.

Italian house Max Mara has unveiled its completely renovated flagship at 31 Avenue Montaigne in Paris. The reopening, which coincides with the brand's 75th anniversary, is not just a simple aesthetic update. It also illustrates the desire to reaffirm the brand's identity within the Parisian Golden Triangle.

To redesign the 745 square metre space, Max Mara enlisted architect Sophie Hicks. The project is distinguished by a bold approach: revealing the original concrete structure of a 1970s building. This choice of raw sobriety contrasts with the refinement of traditional Italian materials, creating a visual tension characteristic of contemporary luxury.

The interior design is a chromatic study centred around the house's emblematic shade: camel. Sophie Hicks has taken this exploration to the extreme, shifting the hue towards a bright orange, which is used as a visual thread.

The store's centrepiece is undoubtedly the helical staircase. Designed in collaboration with the engineering firm Arup, the structure was conceived to be visible from the outside, acting as a strong beacon on Avenue Montaigne.

In a market where a physical point-of-sale must offer more than just a catalogue, Max Mara integrates sensory and technological elements to strengthen its connection to its roots in Reggio Emilia. A backlit linen screen broadcasts the atmospheric conditions of the house's headquarters in Italy in real time. The wind, mist, or sun from the home region are superimposed on images from the Collezione Maramotti, the founding family's contemporary art collection.

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

Debenhams Group, the British retailer featuring Debenhams, Karen Millen, Boohoo, Man and PLT, has named former Asos executive Nikki Tattersall as its chief product officer, tasked with accelerating the turnaround of its youth fashion brands.

In a statement, Debenhams Group said that Tattersall, former buying director at Asos, will lead product strategy across the group’s youth brands, “focusing on sharpening their offer and building on their distinct identities” as it looks to drive continued growth by deepening customer engagement and evolving each brand, alongside the expansion of the Group’s marketplace model across these brands.

Tattersall was previously at online retailer Asos, where she held senior leadership roles across buying and product, most recently as buying director. During her 15 years there, she led womenswear buying across own-brand and third-party and played a key role in developing next-generation brands.

Dan Finley, chief executive of Debenhams Group, said: “Inspiring our customers with products we know our customers will love is at the heart of our strategy, and Nikki brings exactly the experience we need to do this. She has a real instinct for what customers want – and what they don’t even know they want yet – with a strong track record of discovering and building brands that resonate at scale.

“As we continue to build on the strong progress across our youth brands, her leadership will be key to taking our product offer further, strengthening each brand’s identity and deepening our connection with customers. The Group has real momentum behind it, and this is an important step in accelerating that further.”

Debenhams Group to accelerate youth fashion brands' growth with former Asos executive Nikki Tattersall

The appointment comes as Debenhams Group recently reported strong momentum over the past year, with results ahead of expectations, with full-year adjusted EBITDA of 53 million pounds for FY26.

But now the group is looking to focus on its younger clientele, targeting its global social following of over 46.5 million and its "loyal international customer base". Debenhams Group believes that the youth brands “have a strong foundation for their next phase of growth” and is looking to Tattersall to lead the strategy.

Commenting on her new role, Tattersall added: “I’m excited to be joining Debenhams Group at such an important moment. These are brands that pioneered how we shop for fashion online and have played a big role in shaping how young women discover fashion, express who they are and who they want to be. There’s a real opportunity to build on that and continue that momentum with a new generation of customers while maintaining their already strong following.

“The focus now is on continuing to understand the customer, getting even closer to what they want, and building on the strong foundations already in place with ranges that feel fresh, distinctive and right for them. I’m looking forward to working with the teams to take these brands into their next chapter.”

Kent State University School of Fashion has announced its 2026 Annual Fashion Show, set to take place from April 30 to May 2 in Crawford Hall on the Kent campus.

The showcase will feature 173 looks created by 48 student designers, selected by a panel of industry critics. Collections span categories including childrenswear, knitwear, streetwear and avant-garde design, highlighting the breadth of work developed across the programme.

According to director Mourad Krifa, the event aims to celebrate student creativity and innovation while providing a platform for emerging talent. The production is led by student co-producers Ryan Gibson and Ana Beatriz Fonseca Ribas Martins, with support from faculty co-directors Joanne Arnett and Sue Yoder.

The show forms part of the school’s broader Fashion Week programme, running April 27 to May 2, which includes multiple student-led events such as knitwear presentations, virtual showcases and portfolio exhibitions.

On May 2, the school will also host its Hall of Fame induction ceremony, honouring Fern Mallis as the 2026 inductee. The industry figure will deliver a public lecture during the week, offering students and educators additional opportunities for engagement with professional practice.

Awards presented during the event include Best in Show, Sustainable Design Award, Innovation Award and Market Ready Award, among others, recognising achievements in design, construction and industry readiness. For fashion students and educators, the event serves as both a creative showcase and a practical learning platform combining design, merchandising and production experience.

Design Academy Eindhoven will present “Inframezzo,” an exhibition of graduate works, during Milan Design Week 2026, taking place from April 20 to 26 at Alcova Milano.

The exhibition brings together recent alumni projects that explore themes of pause, transition and change across design, education and everyday life. Framed around the idea of the “intermezzo,” the show examines moments of recalibration where reflection and participation intersect.

Presented through a collective scenography, the works address material, social and ecological conditions as evolving systems open to reinterpretation. The projects propose both subtle and more radical shifts in how these conditions are understood and engaged.

“Inframezzo” will be part of Alcova Milano’s 2026 edition, which features more than 120 international designers, studios and institutions across the Baggio Military Hospital complex. Known for staging exhibitions in historically layered sites, Alcova provides a platform for experimental and emerging design practices.

The exhibition includes work by a range of graduates, including Alice Moretto, Christos Voutsas, Dana Elmi Sarabi and Natali Aguirre Montaña, among others.

“Inframezzo” will be open daily from 11:00 to 19:00 at Via Giovanni Labus 10 in Milan.

SKINVITY will be accessible both online and in-store, situated on the Ground Floor within the Smartech section—an easily accessible, high-traffic destination for tech and beauty enthusiasts.

SKINVITY is redefining at-home skincare by bringing clinical grade beauty technology directly into consumers’ daily routines. Combining cutting-edge devices with clinically tested formulations, the brand delivers professional-grade treatments in a sleek, intuitive format designed for modern lifestyles.

Positioned at the intersection of beauty, technology and innovation, SKINVITY empowers consumers to achieve visible, results-driven skincare outcomes without the need for frequent clinic visits. Its range of advanced solutions is designed to improve skin health, enhance appearance and simplify routines—making high-performance skincare more accessible than ever before.

“Bringing SKINVITY to Selfridges is a dream come true and a pivotal moment in our international journey. We’ve always believed that professional beauty technology belongs in the hands of every woman, and there is no better place than the world’s most iconic department store to share our vision of innovation, self-care, and tangible results.”

Devices available to purchase through Selfridges:

• Silicone LED Mask (£599)
• PressTech (£999)
• TriPollar Aura (£849)
• TriPollar Envig Edge (£799)
• TriPollar POSE VX (£699)

To mark this partnership, SKINVITY will offer a ten percent in-store discount for the first month, valid through 15th May.

French luxury group Hermès reported on Wednesday that its first-quarter sales fell by 1.4 percent year-over-year to 4.1 billion euros (4.83 billion dollars). The results were impacted by exchange rates and the war in the Middle East.

At constant exchange rates, the saddler and leather goods maker's revenue grew by 6 percent, with the adverse currency effect accounting for 290 million euros. “In a tense geopolitical context, the house of Hermès is staying the course,” said executive chairman Axel Dumas, quoted in the press release. Activity in the group's stores, which grew by 7 percent, “lost almost 1.5 percentage points of growth due to events in the Middle East,” chief financial officer Éric du Halgouët told journalists.

“We had very strong double-digit growth in January and February. March came to a halt, with our business down by 40 percent,” he detailed, “mainly in the United Arab Emirates.” He added that the group operates six stores in the region, which account for “4 percent of the group's sales”.

Sales in the UK, Italy and Switzerland also suffered from the war. According to the chief financial officer, this is because Hermès has a “significant proportion of Middle Eastern clientele” in those countries.

Sales in France, down 2.8 percent to 347 million euros, were penalised by “the slowdown in tourist flows, particularly in March,” according to the press release.

In other regions, sales in America, Japan and Europe excluding France “showed strong growth,” “despite the slowdown in tourist flows linked to events in the Middle East.”

The Americas region “had an exceptional first quarter, with balanced growth across all business lines in the US, Canada and South America.” Revenue was up 6.4 percent to 739 million euros.

Revenue in Japan was down 3.9 percent (but up 9.6 percent at constant exchange rates) to 404 million euros, driven by local clientele.

In Europe excluding France, revenue was up 7.6 percent to 538 million euros, also supported by local demand. Revenue in Asia excluding Japan fell by 4.6 percent (but increased by 2.2 percent excluding currency effects) to 1.88 billion euros. Greater China (which includes Hong Kong, Taiwan, Macau and China) “continued to see slight growth.”

The verdict came in this Tuesday for Kering. With revenue of 3,568 million euros in the first quarter of 2026, the luxury group finally stabilised its revenue on a comparable basis. Organic growth remains at a standstill. Yet this 0 percent stagnation on a comparable basis marks the end of a freefall period and validates the foundation on which Luca de Meo intends to build his turnaround plan.

Revenue seeks balance

The first quarter closed with stable trading (0 percent) on a comparable basis, although the 6 percent decline in reported figures is a reminder of the impact of recent scope adjustments. This plateau suggests the group is finally stemming the losses. Luca de Meo attributes the performance to the first tangible effects of more rigorous operational execution. The contrast between channels remains sharp, however. While the directly operated retail network fell 2 percent, wholesale rose 6 percent, driven by an eyewear division that is asserting itself as a source of resilience.

Gucci: Start of transatlantic rebound

A vital engine for the group, Gucci remains in recovery mode, with revenue of 1,347 million euros, down 8 percent on a comparable basis. Asia-Pacific and western Europe still weighed negatively on performance, but North America delivered a strong signal with growth of 8 percent. This rebound in the US validates the first measures to reposition the offer. The strategy now rests on a drastic rationalisation of product categories and a more sequenced roll-out of collections throughout the year to restore brand desirability.

Property disposals: 729 million euros in immediate liquidity

Kering appears to have taken on board criticism of its past property appetite.

Kering used the quarter to monetise part of its Milan real estate portfolio. The group struck an agreement with Al Mirqab Group concerning the asset at 8 via Monte Napoleone, one of the most prestigious luxury streets in the world. The transaction enables Kering to collect 729 million euros on completion, with a further 432 million euros to be added in five years. The group retains a 20 percent stake in the new dedicated structure. Even so, this partial disposal illustrates a priority on strengthening the balance sheet, which has been heavily strained in recent years by these property acquisitions, and on financial flexibility rather than direct ownership of real estate.

Middle East exposure: First quantified assessment

In an effort to provide greater visibility for the market, the group isolated the performance of its Middle East operations, a region accounting for 5 percent of its retail sales. While the start of the year was promising, the escalation of the conflict sharply reversed the trend from late February. Retail revenue in the region ended the quarter down 11 percent. Beyond the local impact, management is closely monitoring the potential repercussions for international tourist flows, traditionally a key consumption driver for the group’s Houses.

Jewellery and eyewear as stabilisers

While leather goods are being reorganised, the “Jewelry” and “Eyewear” segments are emerging as effective growth drivers:

• Kering Jewelry posted growth of 22 percent on a comparable basis, driven by the strength of Boucheron. The creation of a dedicated entity in March, led by Jean-Marc Duplaix, underlines the ambition to structure this division as an autonomous platform.
• Kering Eyewear delivered its best quarter on record at 489 million euros, boosted by the integration of leading licences such as Valentino.

Platform strategy and “ReconKering” plan

Kering’s overhaul is not limited to sales. The group finalised its strategic alliance with L’Oréal in beauty and created two centres of excellence, “Industry” and “Client”, to increase the operational efficiency of its Houses.

The high point of this transformation is expected on April 16, 2026, in Florence. The Capital Markets Day will provide an opportunity to outline the “ReconKering” plan, which is expected to set new medium-term margin and organic growth targets.

In Iseyin, a sleepy town in southwestern Nigeria, shaded spaces under trees, makeshift sheds and narrow alleys double as production hubs for aso-oke, a handwoven fabric indigenous to the Yoruba ethnic group.

Demand for the fabric has recently soared at home and abroad, boosted by Nigerians in the diaspora and the rising global popularity of the country's fashion and music culture.

Yet the artisans making it are resisting mechanisation, insisting that handweaving is what makes it unique. Located about 200 kilometres (130 miles) from the cultural and fashion centre that is Lagos, Iseyin is considered the home of aso-oke.

Under a sweltering sun on a muggy morning, yards of yarn and freshly woven fabrics stretch and tangle across a dusty space, surrounded by weathered sheds where weavers labour behind wooden looms.

Young people, including university graduates, flock to Iseyin to learn a craft that has become an economic lifeline for many.

Bare-chested, his tattooed biceps glistening, Franscisco Waliu sat at his wooden loom, its steady click-clack filling the air as he wove a cream-and-blue fabric.

A decade ago, Waliu ditched his career as a singer in Lagos nightclubs to learn aso-oke weaving.

He admits he initially struggled with the physical demands of weaving but doesn't regret his move.

"Now I earn a decent living from weaving aso-oke and I'm satisfied," the 34-year-old told AFP.

Old looms, new generations

Aso-oke, which loosely translated means "the cloth from up country", is a thick fabric, often vibrantly multicoloured, which has become a staple in Nigeria, Africa's fashion capital.

It is used in traditional ceremonial wear, as well as statement fashion garments and casual wear. Strips get sewn onto other types of fabric outfits, giving them a touch of colour and class.

Meghan Markle donned an aso-oke wrapper and a shoulder shawl during a visit to Nigeria two years ago with her husband, Britain's Prince Harry. In Iseyin, the steady rhythm of old, wooden looms is the soundtrack to a tradition passed down through generations.

Aso-oke remains both a cultural symbol and a marker of identity. In the past, production included preparing threads from cotton or silk. The fibres were cleaned, spun into yarn and dyed, often using traditional methods, before being set out on looms.

Colour options were limited then.

Today, weavers increasingly rely on loom-ready threads in a variety of colours "mostly imported from China", said 42-year-old weaver Abdulhammed Ajasa.

Artisans work for hours setting threads on looms to create narrow, tightly patterned strips, which are later sewn together into wider cloths for garments and accessories.

"This is what Iseyin is known for," Kareem Adeola, 35, said from behind his loom. "We inherited it from our forefathers." While many weavers in Iseyin are middle-aged men, younger people like Waliu are entering the trade, bringing new ideas and skills. Some engage graphic artists to develop new designs.

'Meant to be handwoven'

Despite rising demand, the craft has largely stuck to its rudimentary roots. Attempts to mechanise production have been limited or largely failed. "If you use a machine to weave aso-oke, it won't come out as nice as if it was handwoven," said Adeola, weaving a yellow-and-olive piece.

"People have tried it before and it did not work. It is meant by God to be handwoven."

Sticking to traditional weaving methods means strain and comes with health risks linked to prolonged sitting, one weaver remarked.

Yet weavers insist the painstaking process defines the fabric's authenticity.

Traditionally worn by the Nigerian rich and ruling class on special occasions, it now adorns designer studios in major cities, is exhibited on runways in London and Paris and is crafted into shoes, bags and purses. "It is no longer reserved for special occasions," Isiaq Yahaya, a 45-year-old mathematician, told AFP.

Global opportunities

Designers say aso-oke's growing international exposure has catapulted it into a global fabric but has also raised concerns about cultural ownership. "There is nothing wrong with your culture being worn by other people," said Ayomitide Okungbaye, the 31-year-old creative director of Lagos-based Tide Chen, who has exhibited aso-oke designs in London.

"Where we start to have a problem is when there's misappropriation or people start to claim ownership."

Adire, another Yoruba fabric produced using the tie-dye technique, is already reeling under the effect of Chinese counterfeiting.(AFP)

Interview

Prince is making a decisive swing, moving beyond the racquet and into apparel as the convergence of sport and fashion opens up fresh commercial opportunities for heritage performance labels.

The shift, overseen by the brand’s parent company Authentic Brands Group, reflects a broader evolution within racquet sports, where on-court credibility is becoming increasingly intertwined with off-court style.

Central to this push is a new partnership with C-Life Group, which will design, manufacture and distribute Prince apparel across North America. The deal spans men’s, women’s and kidswear, covering both on-court performance and off-court categories, marking a notable step in scaling the brand into a broader lifestyle business.

Speaking to FashionUnited, Tim Puttock, senior director R&D of Prince at Authentic, outlined the thinking behind the shift, discussing the timing of the apparel rollout, opportunities in a fast-growing racquet sports market, and how the brand plans to balance performance credibility with fashion relevance through a considered, omnichannel approach.

What specifically has prompted the shift for Prince to venture into apparel? Why has the brand decided to pursue an apparel-focused strategy now?

The convergence of sport and fashion has created a strong opportunity for Prince to expand beyond the racquet into apparel. Prince sits at the intersection of heritage racquet sport and modern lifestyle, a space that remains underdeveloped compared to running and basketball.

With tennis-inspired style influencing the mainstream, now is the right moment to leverage the brand’s authority in racquet sports to capture share in the fashion market. This move is supported by our partnership with C-Life Group, enabling us to bring this vision to market with speed and scale.

Tennis, padel, and pickleball are seeing unprecedented growth in both participation and cultural relevance. How will Prince leverage this momentum to appeal to both traditional players and younger, style-conscious consumers?

Across tennis, pickleball, and padel, today’s athlete is increasingly style-conscious, seeking products that perform on court while reflecting their personal aesthetic. Prince is uniquely positioned to meet this demand by staying at the forefront of racquet sports while introducing a fresh, design-led approach across new categories. This ensures we remain relevant to core players while engaging a new generation of consumers.

The current market shows a surge in racquet-sport apparel, yet many legacy brands have struggled to fully capture it. What lessons is Prince drawing from sectors like running or soccer, where fashion-conscious consumers now dominate?

Prince’s strength lies in its authentic heritage in tennis, which provides a credible foundation as we expand into apparel. The brand has long been a pioneer driven by innovation, and that same spirit will guide our approach to fashion. By staying true to our roots while evolving with consumer expectations, we can deliver products that resonate both functionally and culturally.

Lifestyle apparel often requires collaborations and/or pop-culture relevance. Are there plans for fashion-forward partnerships or influencer activations to position Prince as a modern lifestyle brand?

Collaborations are a key pillar of Prince’s strategy, particularly under the creative direction of David Grutman. In recent years, the brand has partnered with culturally relevant names such as Sporty & Rich, Siegelman Stable, and Brooks Brothers to name a few. We see strong value in these partnerships and will continue to explore collaborations that bring fresh perspective and cultural relevance to the brand.

How does Prince plan to balance its legacy in performance tennis equipment with ambitions in lifestyle and fashion apparel?

For over 50 years, Prince has been defined by innovation, distinctive colour stories, and a bold graphic identity. These elements remain central to our design approach as we expand into lifestyle apparel. Our goal is to ensure that every product reflects the brand’s heritage while offering versatility and relevance for modern, everyday wear by striking a thoughtful balance between performance credibility and lifestyle appeal.

E-commerce and online retail are growing rapidly in the sports apparel space. How will Prince balance digital-first strategies with traditional retail partnerships to maximise reach?

A strong omnichannel approach is critical to maximising reach. We’ve found an experienced partner who shares our vision for growth, while also maintaining strategic relationships with key retail partners. This balanced approach allows us to meet consumers wherever they choose to shop, ensuring accessibility and consistency across all channels.

What is Prince looking for in key retail partners, and how will this approach evolve as it expands into apparel and lifestyle?

We prioritise partners who understand and value Prince’s authenticity and heritage in sport. As we expand into lifestyle categories, it is equally important to work with retailers who can support a seamless transition from on-court performance to everyday wear.

Beyond North America, are there any geographical regions that present an opportunity for further growth for Prince?

Prince already has a strong international presence which provides a solid foundation for global expansion. We see significant opportunity to extend this brand equity into lifestyle categories across key international markets, bringing a consistent and elevated brand experience to consumers worldwide.

Ganni has appointed Stephane Akchote as its new global wholesale and franchise executive director.

Akchote announced his new role on Linkedin on Tuesday. According to his profile on the professional networking site, he has been active in this role for the Danish label since the beginning of the year.

He brings many years of experience in wholesale and sales and was most recently a self-employed consultant in this field. Before that, he worked for the French luxury brand Ami Paris as worldwide wholesale and franchise director for almost three years. Akchote has also held senior positions at AZ Factory, Christian Dior Couture, Maison Margiela and Acne Studios.

The news follows Ganni's appointment of three new executives at the end of last year. These include Marcelo Noschese as president Americas, Marie Valot as communication and PR executive director, and Guillaume Dacquet as marketing and image executive director.

At the time, Ganni CEO Laura du Rusquec said in a Linkedin post that Ganni was entering an exciting new phase, for which the new management team was crucial “to drive our global vision forward with clarity and ambition”. Akchote now appears to be taking on the next key position for this step.

As the giants of the CAC 40 publish their quarterly results, an exclusive analysis by Reuters reveals the scale of the upheaval hitting the Middle East. Long considered the sector's last growth engine, the Gulf is now seeing its sales collapse due to geopolitical tensions with Iran.

Until now, major luxury groups like LVMH, Kering, and Hermès presented the Middle East as a resilient region, offsetting the slowdown in China. This perspective is now obsolete. According to information reported by Reuters, sales for the largest European houses plunged by 30 to 50 percent in March at the Mall of the Emirates in Dubai. Even more strikingly, footfall at the Dubai Mall, a global barometer for luxury shopping, reportedly dropped by 50 percent.

End of the Emirati 'safe haven'

Dubai is not just a local market; it is a re-export hub and a major shopping tourism destination for Russian, Indian, and European clients. The regional instability, marked by tensions between Iran, Israel, and the US, is shattering the United Arab Emirates' image as a 'secure bubble'.

While the Middle East accounts for only 5 percent of global luxury consumption, its contribution to marginal growth was crucial. Carole Madjo, an analyst at Barclays, noted that it was one of the few regions with double-digit growth in recent years. Seeing it falter now deprives these groups of their 'plan B' as China fails to recover.

Risk of contagion in the US

The analysis extends beyond the Gulf's borders. As highlighted by Reuters, analysts at Bernstein are now concerned about a domino effect. Instability in the Middle East does not just impact boutiques in Dubai:

• Energy prices: A sustained rise in oil prices weighs on household morale, even in the US.

• Travel inflation: The cost of airline tickets and insecure air routes are hindering global travel retail.

• The wealth effect: A stock market crash or increased volatility immediately reduces spending by so-called 'aspirational' customers.

High-stakes schedule

This revelation comes at a sensitive time for Kering, which is holding its Capital Markets Day in Florence this Thursday. Luca de Meo will undoubtedly have to answer much darker questions than anticipated about the group's geographical diversification. As for LVMH, while the group managed to limit the damage this quarter, the prospect of a return to normality that will “take months”—according to experts cited by Reuters—dampens hopes for a solid recovery in 2026.

The luxury sector is no longer just facing an economic slowdown cycle, but a forced reorganisation of its profit geography.

Madrid – A decisive step forward has been made in popularising circularity and the use of more sustainable fibres, following a strategic agreement between Spain's Recover and China's Prosperity Textile. Under this pact, the companies have agreed to jointly participate in the development, manufacturing and industrial-scale commercialisation of denim fabric fibres made from recycled cotton fibres.

To this end, as Recover announced in a statement, the Spanish company will contribute its accumulated experience as a leading industry player in recycling and the global production of high-quality, low-impact recycled cotton and cotton blend fibres, all produced on a large scale. The Chinese company, founded in 2002 in the city of Shaoguan, Guangdong province, will contribute its own expertise as a specialist with over 20 years of experience in denim fabric manufacturing. This production is not only carried out independently but also forms the basis of comprehensive solutions offered to brands and retailers worldwide. It currently has its main production centres in China and Vietnam, with an annual production capacity of around 100 million yards, approximately 91.44 million linear metres.

“Our collaboration with Prosperity Textile represents an important step in making it easier for brands to integrate circular materials beyond specialised collections into their main high-quality denim lines,” emphasised Anders Sjöblom, CEO of Recover. “Working closely with an industrial partner that has the technical expertise, innovative mindset and scale of Prosperity Textile will allow us to jointly develop denim fabrics that meet the real performance and quality expectations of global brands, while reducing reliance on virgin cotton.”

“By combining Recover's expertise in recycled cotton with our industrial manufacturing capabilities, we can offer competitive, large-scale denim fabrics that meet the performance, lead time and quality expectations of global brands,” added Stafford Lau, chief executive officer of Prosperity Textile. “This collaboration reflects our shared commitment to making high-quality, sustainable denim a viable solution for mainstream collections produced on an industrial scale.”

First samples from Kingpins Amsterdam

Describing their partnership as a “flexible collaboration” between Recover and Prosperity Textile, the alliance will allow both companies to develop scalable and sustainable denim fabric solutions. These can evolve over time depending on the needs, production volumes and final applications required by their clients. This will open the door to ad hoc solutions for companies, potentially extending to the finished garments already offered by both Prosperity Textile and Recover.

However, before taking the partnership to that scale, Recover's technologies for producing high-quality and consistent recycled cotton fibres will be combined with Prosperity Textile's manufacturing capabilities and denim expertise. This will initially be used to create a series of denim fabrics, which will be manufactured in Vietnam and marketed under the “Recover Fabrics” brand. This trademark was launched last November 2025 by the Spanish company as part of its business model diversification into marketing fabric and finished garments. It will also be used as an umbrella for marketing these denim fabrics developed with Prosperity Textile. The first samples of these textiles will be presented during the upcoming edition of Kingpins Amsterdam, which starts on April 15 in the Dutch capital.

“Designed as a scalable platform for the industrial production of denim fabrics, this collaboration guarantees quality, performance and long-term supply,” both textile companies stated. Regarding the commercialisation of these materials, “the first fabric developments will be presented to selected partner brands as part of both companies' shared commitment to accelerating circularity in the denim sector.” Furthermore, as a more visual and open preview, “to demonstrate the potential applications of the fabric collection, selected garments will be presented at Kingpins Amsterdam, serving as examples of how the fabrics can be applied in different denim products.”

Amazon announced on Tuesday the construction of a distribution centre in the Haut-Rhin region in France. It will be one of the largest in Europe, representing an investment of over 250 million euros and creating 2,000 jobs.

The building, located in the municipality of Ensisheim, will have a floor area of approximately 60,000 square metres and a total area of 189,000 square metres over three levels. The e-commerce giant told AFP that it is expected to open at the end of 2027. The company confirmed this will make it one of Amazon's largest logistics centres in Europe in terms of surface area.

“Dedicated to preparing customer orders, this site will incorporate the latest robotic technologies developed by Amazon,” according to a statement from the American company.

The group noted that in the Grand Est region, Amazon has invested over 1.5 billion euros since 2010. It already employs more than 4,000 permanent staff at its distribution centre in Augny (Moselle) and its two delivery agencies in Woippy (Moselle) and Strasbourg (Bas-Rhin).

In France, Amazon employs 17,000 people in its distribution centres and 5,000 in its sorting and delivery agencies.

Shopping centre operator Allos has signed a memorandum of understanding with investment firm Kinea, securing an agreement that aims to create a real estate investment fund, Kinea Allos Malls Fil, which will be co-managed by both companies.

According to the statement, the next step will be to raise funds through a primary share offering. The final offering volume is expected to be between 789.5 million and 1.97 billion reais. These funds will be used to acquire mature assets from the Allos portfolio.

The initial portfolio, with stakes depending on the final fundraising amount, will include 49 to 100 percent of Shopping Metrô Santa Cruz; 11 to 50 percent of Plaza Sul Shopping; and 10 to 12 percent of Shopping Villa-Lobos, all located in São Paulo. It also includes 5 to 15 percent of Bangu Shopping and 65 percent of Caxias Shopping, both in Rio de Janeiro; and finally, 12 to 40 percent of Shopping Parangaba in the capital of Ceará.

Strategic partnership

Kinea Allos Mall Fil will consolidate a strategic partnership between two of the biggest names in the real estate market. A reciprocal exclusivity agreement is planned between the two companies to carry out the operation until December 31, 2026.

“This new business vertical opens a growth cycle for Allos and creates recurring revenue from asset and fund management, supported by its positive track record in capital allocation. It also creates portfolio management opportunities and allows for joint acquisitions in the future without altering the company's current shareholder remuneration strategy. Allos will have an equal stake in the Fund's management, will be a unitholder with an initial 24 percent stake in the Fund, the administrator of the shopping centres and co-owner of some of the assets,” the statement said.

According to the material fact, the completion of the transaction is subject to certain preceding conditions, including the right of first refusal.

The US fashion rental platform Rent the Runway has reported a significant expansion of its active subscriber base and a return to net income for the fiscal year 2025 ended January 31, 2026. The company attributed these results to a strategic decision to increase inventory investment, which served as the primary driver for improved customer loyalty and retention.

“Last year, we made a calculated bet that increasing our inventory investment was the strongest lever to unlock growth,” said Jennifer Hyman, co-founder and chief executive officer of Rent the Runway. Hyman noted that the strategy has resulted in the company operating from its “strongest financial position in years.”

Q4 and fiscal year 2025 financial performance

For the full fiscal year 2025 (FY25), the company reported revenue of 329.80 million dollars, marking a 7.7 percent increase year-over-year (YoY). Net income for the period reached 22.60 million dollars, a substantial recovery from the 69.90 million dollar loss recorded in the previous year.

The average active subscriber count rose by 8.3 percent YoY to 143,558. However, EBITDA declined to 24.90 million dollars from 46.90 million dollars in FY24, with the EBITDA margin narrowing to 7.6 percent from 15.3 percent.

Performance accelerated in the fourth quarter of fiscal year 2025, with revenue reaching 91.70 million dollars, up 20 percent compared to the same period in the prior year. Active subscribers reached 143,796 by the end of the quarter, representing 20.1 percent growth YoY. Subscription add-on revenue proved to be a significant growth lever, increasing by 67 percent YoY in the fourth quarter.

AI integration and marketplace expansion

Rent the Runway is shifting its focus toward technological integration and revenue diversification for fiscal year 2026 (FY26). In March 2026, the company launched a marketplace pilot program, offering curated wardrobe essentials including shoes and beauty products. A 2025 customer survey indicated that 86 percent of subscribers are interested in purchasing such complementary items.

The platform is also undergoing a digital transformation, moving from a traditional e-commerce grid to an AI-powered discovery model. Recent updates include a new search algorithm launched in February 2026, which improved subscription conversion rates by 10 percent, and an AI-driven ‘similar styles’ recommendation engine.

Outlook for fiscal year 2026

The company issued a positive outlook for FY26, projecting double-digit revenue growth driven by continued product and inventory enhancements. For the first quarter of fiscal year 2026, Rent the Runway expects revenue between 85 million and 87 million dollars.

While inventory investment was a priority in FY25, the company plans to moderate this spend in the coming year. Rental product acquired is expected to be between 45 million and 50 million dollars in FY26, down from 74.90 million dollars in the previous fiscal year.

Hugo Boss first made its mark in tennis in the 1980s when it sponsored men’s team competition, the Davis Cup, for 15 years, and now the German fashion brand has secured its biggest partnership as the official lifestyle outfitter for the Australian Open from 2027.

The move is described as a “landmark partnership” for the German fashion group’s flagship brand, Boss, as part of its ongoing brand strategy to position itself at the intersection of sport, lifestyle, and global fan engagement.

Boss will replace the Australian Open’s longtime partner, Ralph Lauren, which also sponsors Wimbledon, and will dress up to 4,000 staff, officials, umpires, and ball kids, while also transforming “the visual identity of the Australian Open like never before”.

The German brand said in a statement that Boss’ “unified, elevated, and distinctly modern aesthetic will be visible across every corner of Melbourne Park,” with a curated palette of refined shades, including subtle nods to the brand's tailoring expertise, and easy-wear silhouettes engineered for the Melbourne heat.

Daniel Grieder, chief executive of Hugo Boss, said in a statement: “We are absolutely excited to partner with the Australian Open, which is one of the most dynamic and globally followed sporting events worldwide. This collaboration is a natural fit for us, as it brings together two brands that share the same commitment to excellence, innovation, and creating extraordinary experiences.

“Tennis is part of Boss’s DNA.”

Boss named the official lifestyle outfitter for the Australian Open

Boss branding will also be displayed around the venue, including inside the tournaments' Rod Laver Arena, and the fashion group also plans to open dedicated pop-up stores, immersive on-site fan activations, and an elevated guest experience.

The collaboration is much more than just visual branding on and off the court; the partnership also extends to exclusive replica teamwear, merchandise, and off-court capsules, as Boss looks to make the Australian Open a cornerstone of its cultural strategy to connect with fans at scale and unlock new and younger consumers.

Boss’ deal with the Australian Open adds to it being the title sponsor of the Boss Open (ATP 250) in Stuttgart, Germany, and having star ATP players including Taylor Fritz and Matteo Berrettini on its elite athlete roster, alongside rising talents Noma Noha Akugue and Ella Seidel. The brand has also previously utilised its tennis stars to debut new innovations, including using an innovative degradable recycled polyester yarn, called NovaPoly, for their on-court jerseys, shorts, and caps.

American bridal fashion house, Justin Alexander Group, which is marking its 80th anniversary this year, has launched a new premium occasionwear brand for flower girls, designed to redefine the children’s category through a couture lens.

Fable by Justin Alexander offers heirloom-inspired dresses designed for flower girls and special occasions, bringing “bridal-level detail to the forefront” to elevate occasionwear for young girls.

The debut 18-piece spring/summer 2027 collection, ‘Written in the Stars,’ is rooted in couture-level detailing and whimsical storytelling, while maintaining a sense of charm and nostalgia, with flower girl dresses crafted from Mikado, airy organza, heritage lace, and floral brocade fabrications alongside playful details, such as structured bows, voluminous puff sleeves, capes, and subtle butterfly motifs.

“Rooted in the emotional narrative of weddings, the collection captures the magic of the flower girl moment - where innocence, tradition, and storytelling converge,” explains the bridal fashion house in the press release. “Each design is imagined as a keepsake, blending nostalgia with modern refinement.”

Distribution for the new category will span bridal boutiques, select speciality retailers, and e-commerce, signalling a strategic expansion beyond traditional bridal channels.

This is the latest launch from the Justin Alexander Group, which earlier this month unveiled a “new era of quiet luxury in bridal fashion,” with its Poeza bridal brand focused on architectural, sculpted silhouettes and luxury fabrics.

The Justin Alexander Group, headquartered in New Jersey, features bridal brands including Justin Alexander Signature, Justin Alexander, Adore by Justin Alexander, Lillian West, Sincerity Bridal, Thanks&Goodluck, alongside luxury partners Viktor&Rolf Mariage and Savannah Miller.

The Irish government has launched a new strategy to overhaul the national textile industry, with the mission of shifting from a linear “take-make-waste” model to a circular economy. With the unveiling of the Whole of Government Economy Strategy 2026-2028 and the first-ever National Policy Statement and Roadmap on Circular Textiles, Ireland is introducing mandatory accountability for brands and retailers.

The strategy intended to address Ireland’s post-consumer textiles industry, which currently generates over 110,000 tonnes of textiles annually, with an average consumption rate of 53 kilograms per person, making it one of the highest textile consuming regions in the EU. The government is therefore looking to move beyond voluntary guidance toward a regulated framework that places the financial and operational burden of waste on the industry.

DPPs and EPR

At the core of the new roadmap is the introduction of Extended Producer Responsibility (EPR). By April 2028, fashion brands and retailers placing products on the Irish market will be legally required to fund the cost of collecting and managing used textiles.

In a statement, minister of state, Alan Dillon, said: "Far too much of our used textiles currently end up being disposed of as waste in our bins. Today I am launching policy and practical measures to change this, to move us closer to a circular economy for textiles. The Policy Statement has a range of measures that will promote circular design, so that textiles last longer and are easier to reuse and repair. The actions in the Policy Statement make the fashion and textile industry responsible for its textile waste."

To support the EU Ecodesign for Sustainable Products Regulation (ESPR), Ireland is also prioritising the rollout of digital product passports (DPP) for textiles. Akin to those due to be introduced in the EU, these passports will serve as digital identity for garments, providing standardised, machine-readable information.

Strategic goals and stewardship

The strategy further acknowledges the price gap between repair and replacement as a notable barrier to circularity. To counter this, the government is launching several initiatives:

• National Pilot Repair Voucher Scheme: Supported by the Circular Economy Fund and set to roll out by 2027, this scheme will reduce repair costs to encourage consumers to act as “stewards” rather than just purchasers.

• Repair and Reuse Hubs: Supporting local authorities in developing dedicated facilities for textile upcycling and professional repair.

• Public Awareness Campaigns: A new nationwide campaign via MyWaste.ie will educate the public on proper donation protocols to ensure used clothing has the highest chance of reuse.

The roadmap ensures industry stakeholders begin aligning with these measures imminently as part of Ireland’s broader climate action agenda. Minister Darragh O’Brien said the strategy was imperative from an economic and environmental point of view, adding: “Nearly half of global greenhouse gas emissions come from how we make and use goods, food and materials. By embedding circularity across our economy, we can cut those emissions at the source – long before they reach our atmosphere. This is not simply an environmental project; it is a cornerstone of our climate action agenda."

Measurable targets have now been laid out by the government to ensure the success of the transition, with a focus on domestic infrastructure and industry innovation. A primary objective is to increase Ireland’s Circular Material Use Rate by two percentage points annually, with the goal of reaching a 12 percent benchmark by 2030.

Supporting this metric is a commitment to ensuring that nationwide, full, and enhanced separate textile collection systems are active by 2030, providing feedstock for a circular loop. Beyond waste management, the strategy further seeks to strengthen Ireland’s position as a global centre for sustainable design, fostering innovative circular business models and eco-design solutions tailored for Irish retailers.

The Copenhagen International Fashion Fair (CIFF) is expanding its international strategy by establishing a permanent presence in Paris for the first time. During the upcoming Paris Fashion Week in June, the trade fair will open a curated showroom in the city's Le Marais district, as announced by organisers on Tuesday. Spanning three floors, the space will present 15 to 20 selected international brands. The line-up will include names such as Rains, Opéra Sport and Woodbird.

“Brands are now expected to be present in multiple markets and at different times. With CIFF Paris, we are creating a format that ensures greater continuity and closer collaboration with our community,” explained CIFF director Sofie Dolva.

Format to ensure visibility

With the new CIFF Paris format, the trade fair aims to expand its role beyond the traditional platform in Copenhagen, providing stronger year-round support for brands. The focus is on continuous engagement with the community and more flexible support across different markets and sales contexts. According to the director, the goal is to develop a platform that supports brands across various markets while allowing for new formats as the industry evolves.

She also highlighted the growing challenges for brands during Paris Fashion Week, particularly concerning independent showroom structures. Competition for attention, buyer visits and footfall is high, increasingly requiring collective solutions to ensure visibility.

“A presence during Paris Fashion Week has always been a key focus for the majority of Nordic and international brands. At the same time, operating independently in the city, whether established or emerging, presents a significant challenge. Standing out in such a competitive environment, capturing the attention of buyers and ultimately driving traffic to a single showroom requires both scale and collective reach,” she said.

CIFF to ensure footfall in Paris showroom

The CIFF Paris format will feature a carefully curated environment with internationally invited buyers and selected media representatives. The guest list will be compiled in close collaboration with participating brands to bring together relevant contacts from various markets. The concept is complemented by local partners who will help ensure consistent footfall in the showroom.

Various networking and content formats are planned to accompany the showroom. These include Nordic Breakfasts; Aperitivo events in collaboration with the Copenhagen project Art of the Refill; and special editions of the CIFF media podcast “On Location” with Fashion Forum. To launch the first edition, CIFF will also host an exclusive dinner in Paris to encourage networking between brands and industry professionals.

The Paris format joins a series of international activities by the organisation. These include several seasons as part of the Scandinavian Manifesto during Pitti Uomo in Florence; a joint showroom with the CFDA during New York Fashion Week; and the planned collaboration in June with the Milanese concept 10 Corso Como.

British fashion label Poster Girl, known for its ultra-feminine, high-gloss glamour aesthetic, has launched a capsule collection in partnership with subscription-based social platform, OnlyFans, where creators can monetise exclusive content directly from their followers.

The co-branded collection has been developed in partnership with OnlyFans and will be available exclusively on the OnlyFans store. It features a limited-edition corset, dress, and shorts in blue latex, alongside two G-string thongs in vibrant fuchsia pink and lilac, and a white graphic 90s-style baby tee.

The G-strings have been crafted for a close, sculpted fit to showcase Poster Girl’s tongue-in-cheek, feminine style, while the T-shirt offers a more relaxed silhouette, channelling the on-trend 90s cropped look, finished with a subtle OnlyFans x Poster Girl motif.

In addition, Poster Girl, founded by Francesca Capper and Natasha Somerville, will also join OnlyFans as a creator to share exclusive insights into the fashion world, from sketching to concept development, as well as behind-the-scenes studio content.

The London-based label joins a growing list of fashion designers on the platform, which includes Rick Owens, Louis-Gabriel Nouchi, Collina Strada, Johnny Hoxton and Elena Velez.

Natasha Somerville and Francesca Capper, founders of Poster Girl, said in a statement: “We see a parallel in how OnlyFans and Poster Girl approach femininity, with autonomy and self-possession at the forefront. The emphasis is on women retaining control of their image and their business, without intermediaries.”

The limited-edition OnlyFans x Poster Girl collection is available now with prices ranging from 35 to 899 US dollars.

Lululemon is facing an investigation from Texas attorney general Ken Paxton over concerns related to product safety and transparency.

According to a press release issued by the attorney general’s office, Paxton has launched a Civil Investigative Demand against Lululemon Athletica as part of a formal inquiry into whether the Canadian activewear giant misled consumers about the safety of its products.

The probe will specifically assess whether certain products contain PFAS, commonly known as “forever chemicals”, which do not break down easily and have been linked to health risks, including infertility and cancer.

The attorney general intends to examine whether Lululemon’s marketing as a wellness-focused and sustainable lifestyle brand aligns with its manufacturing and supply chain practices.

Investigators are currently reviewing the company’s internal Restricted Substances List, its chemical testing protocols, and its broader supply chain oversight to determine if the products comply with safety standards.

In a statement, Paxton said: “Americans should not have to worry if they are being deceived when trying to make healthy choices for themselves and their families.

“I will not allow any corporation to sell harmful, toxic materials to consumers at a premium price under the guise of wellness and sustainability. If Lululemon has violated Texas law, it will be held accountable.”

In a statement emailed to The Associated Press, Lululemon, which confirmed cooperation with Texas authorities, stated that it hadn’t used PFAS in its products since phasing out the substances in 2024.

The chemicals had previously been applied across a small portion of the brand's assortment for water-repellent treatments, Lululemon explained, yet are no longer in use.

The company added: “The health and safety of our guests is paramount, and our products meet or exceed global regulatory, safety, and quality standards. We require all our vendors to regularly conduct testing for restricted substances, including PFAS, by credible third-party agencies to confirm ongoing compliance.”

Italian fashion and lifestyle brand Etro has unveiled a collaboration with the St. Regis Atlanta, transforming the hotel’s Pool Piazza into “a summer oasis with European flair,” featuring custom Etro fabric.

The design partnership marks Etro’s first takeover in a US hotel, following a series of projects in Italy, and features a custom fabric, exclusive for the St. Regis Atlanta, which adorns the poolside space in a special interpretation of the brand’s signature paisley motif, featuring swirls of pink, blue and green hues atop a bright canary yellow background.

The Etro fabric can be seen on reimagined host uniforms, umbrellas, awnings, and accent pillows on the poolside lounge chairs, covers and acrylic placements at the café adjacent to the pool. To ensure a cohesive visual across the hotel, the Pool Piazza print complements the existing yellow and white striped items at the pool, and the St. Regis Atlanta Bar Terrace, which features Etro cushions and pillows.

Fabrizio Cardinali, chief executive at Etro, said in a statement: “The lifestyle dimension of our brand, together with the maison’s inherent eclecticism, allows for multiple interpretations while remaining faithful to our heritage.

“The project at The St. Regis Atlanta expresses our view of contemporary luxury, where spaces are elevated through creativity, cultural awareness, and a strong sense of identity.”

Julia McKelvey, director of sales and marketing at the St. Regis Atlanta, added: “This collaboration brings together two iconic brands with a deep appreciation for heritage and design.

“Etro’s exclusive fabric for our address breathes fresh life into the St. Regis Atlanta Pool Piazza, enhancing the luxurious ambience our guests know and love while further defining The St. Regis Atlanta as the city’s premier in-town resort destination.”

Access to the St. Regis Atlanta Pool Piazza x Etro collaboration will be for hotel guests only and will be fully activated for the season from April 24.

British luxury accessories brand Wolf has announced the appointment of Adam Fried to the position of global director of client development. The move marks a strategic reinforcement of the company’s international sales and educational infrastructure.

Fried enters the role as a third-generation jewellery industry veteran with extensive experience within the New York Diamond District. His professional background spans both the vendor and retail sectors of the luxury market, providing a comprehensive understanding of the global supply chain.

Strategic focus on retail education

Previously, Fried served as a global trainer at American diamond brand Hearts On Fire. In this capacity, he was responsible for educating international teams on diamond expertise and luxury sales methodologies.

His experience in the retail sector includes a tenure as director of corporate training at American jeweller Hyde Park. During this period, he oversaw training initiatives designed to enhance sales performance and product knowledge throughout the organisation.

Wolf management indicates that this dual expertise in business-to-business (B2B) and business-to-consumer (B2C) operations will support the brand’s focus on product education and brand storytelling.

Finalising global leadership structure

The appointment is viewed by the company as a pivotal step in its current growth phase. Wolf chief executive officer Simon Wolf stated that Fried represents the final piece of the leadership puzzle for the brand.

“Adam’s experience and long history of running sales workshops across the globe will now infuse the knowledge that the great sales folks on the shop floor need to not only tell the Wolf 190 plus year story but more important why a Wolf is so important to each and every watch and jewellery lover,” Wolf said.

Established in 1834, Wolf specialises in handmade watch winders, jewellery boxes, and travel accessories. The company currently holds the Butterfly Mark from Positive Luxury, an accreditation recognising its commitment to sustainability and environmental standards.

British Retail Consortium (BRC) has reported a rise in UK retail sales for March, though fashion and textile categories continued to lag behind broader growth.

Total retail sales increased 3.6 percent year on year in the five weeks to 4 April, supported largely by stronger food performance. Non-food sales, however, rose just 0.9 percent, remaining below the 12-month average and highlighting ongoing caution in discretionary spending.

Within this, clothing and footwear remained among the weakest-performing categories, reflecting subdued demand despite seasonal events and promotional activity.

In-store non-food sales showed some improvement, rising 1.4 percent compared to a decline last year. Online non-food sales, however, were largely flat, increasing just 0.1 percent, while online penetration edged down slightly to 37.6 percent.

Helen Dickinson, chief executive of the BRC, said: “An early Easter provided a much-needed boost to food sales as families came together over the long weekend.

"Non-food performance was more uneven: demand was robust for computers, toys, and homeware, but clothing and footwear continued to struggle. The disruption to international travel caused by the Middle East conflict also hit sales of travel-related goods."

KPMG’s Linda Ellett added that non-food growth remains weak, as shoppers continue to prioritise essential spending amid ongoing economic uncertainty.

She added: "While margins remain under pressure on a number of fronts, retailers need to continue to focus on their month-to-month pricing and promotions, their supply chain resilience and delivering the technological transformation needed to set the foundations for growth.”

UK department store John Lewis has named Jacqui Markham as its new fashion creative director. The executive will oversee the creative strategy for the retailer’s own-brand collections across womenswear, menswear, and kidswear.

Markham transitions to the role from UK contemporary label Whistles, where she held the position of creative director. Her previous professional experience includes tenures as global design director at Topshop and design director at e-commerce platform Asos. Markham succeeds Queralt Ferrer, who is departing from the John Lewis Partnership (JLP) after four years of service.

The appointment signifies a strategic move to strengthen the creative identity of the retailer’s private labels. JLP is currently directing significant investment toward its fashion division to enhance design quality and market relevance.

Investment in physical and digital retail infrastructure

This leadership change coincides with a broader initiative to modernise the company’s fashion proposition. JLP has recently completed the refurbishment of the womenswear and menswear departments at its Oxford Street flagship store in London.

The retailer is also implementing upgrades across its wider brick and mortar estate and digital channels. These developments are intended to support the new creative vision led by Markham and provide a more cohesive omnichannel experience for consumers.

Expansion of brand portfolio and designer collaborations

Beyond its internal labels, John Lewis is diversifying its offering through high-profile partnerships. April 14, 2026 marks the launch of the second collaboration between John Lewis and UK-based designer Rejina Pyo.

Additionally, the retailer is introducing a 15-piece exclusive capsule collection from UK designer Amanda Wakeley this month. These additions complement a revised line-up of contemporary brands, including US outdoor label Patagonia, UK heritage brand Belstaff, and Danish label Samsøe Samsøe.

John Lewis director of fashion, Rachel Morgans, stated that Markham joins the business at a “defining moment” for the fashion division. Morgans noted that the new creative director will be instrumental in supporting the future vision of the company.

Markham described the current period as a “seminal moment” in the history of the JLP. She expressed her intention to collaborate with the existing teams to shape and execute the brand’s evolving creative strategy.

British womenswear brand Sosandar has released a trading update for the financial year ended March 31, 2026, highlighting a 14 percent increase in total revenue to 42.30 million pounds (57.26 million dollars). The performance marks a shift in the financial trajectory of the company as it transitions toward a more sustainable and profitable growth model.

The group reported that revenue from its own website grew by 24 percent year-over-year (YoY), driven by a rise in digital traffic and improved conversion rates. While the total revenue of 42.30 million pounds fell slightly short of the market expectation of 43.10 million pounds, profit before tax (PBT) reached 0.40 million pounds, aligning with analyst forecasts and improving from a loss of 0.10 million pounds in the previous financial year.

Margin enhancement and digital performance

A strategic focus on margin health resulted in a gross margin of 63.9 percent for the year, compared to 62.1 percent in the prior period. The company noted that all product categories, ranging from occasion wear to casual wear, contributed to the positive results.

Sosandar co-chief executive officers, Ali Hall and Julie Lavington, have prioritised profitability over aggressive discounting. This approach contributed to increased order volumes from both new and returning customers on the direct-to-consumer (D2C) platform.

Third-party partnerships and retail estate

The brand maintained its position as a top-selling label across third-party partners, including British retailer Next. Trading with British multinational retailer Marks & Spencer (M&S) has resumed regular levels following a previous cyber incident that impacted stock intake.

Regarding its brick and mortar operations, the company observed a positive uplift in performance as its store estate entered the second year of trading.

The board stated that no further new store openings are anticipated for the foreseeable future as the focus remains on driving profitability from current locations. Sosandar executives expressed confidence that the current foundations will support future cash-generative growth.

Lyle & Scott is excited to announce the expansion of its outerwear offering with the Heat Reactive Shell Jacket.

The jacket is a modern rework of a Lyle & Scott terrace staple. The silhouette gained notoriety for its adaptability, water resistance and light weight, making it a practical and popular choice for many football fans watching the beautiful game.

The style, now updated for 2026, has playfully incorporated the duality and ever-changing weather conditions of the British climate into its product development. The tone shifts as temperatures change, responding to the environment in real time as wearers move from cold streets to warm interiors.

Whilst polos and knitwear remain at the core of the brands product offering, this drop highlights a desire to modernise and explore technical fabrications on a classic silhouette. There is a brand wide desire to not be rigid when delving into the brands archival hits and a willingness to experiment to move forwards.

That mindset has always been part of Lyle & Scott. Longevity comes from evolution. By testing new technologies and pushing product beyond the expected, the brand stays true to its heritage while stepping into what comes next.

The dark sediment / laser beam jacket returns after strong demand from the AW25 run. The jacket is now also available in an additional new colourway - dark navy / bubble blue. Both are available online.

Students from LIM College gained hands-on industry experience during New York Fashion Week, working behind the scenes across multiple runway productions, according to a report published by Fashionista.

More than 60 students participated in the February 2026 shows, taking on roles ranging from rehearsing runway formations and steaming garments to organising backstage logistics and producing content. The experience provided exposure to real-world production workflows and opportunities to build professional networks.

Big brand collaborations

Several students also collaborated with brands such as Michael Kors, assisting production teams during run-throughs and acting as stand-ins to refine timing, lighting and camera cues. Others supported labels including Bronx & Banco, helping prepare outfits, dress models and capture behind-the-scenes media.

The article highlighted how participating students were entrusted with practical responsibilities, allowing them to observe how creative concepts are executed in a professional environment. This type of experiential learning, the report noted, helps future fashion professionals understand teamwork, production strategy and the importance of detail in delivering runway presentations.

For fashion students and educators, the initiative illustrates how industry events such as New York Fashion Week can function as career-building platforms, providing exposure to production roles beyond design, including marketing, logistics and event coordination.

Today, Boss enters a new era in sport and culture, announcing a landmark partnership as the Official Lifestyle Outfitter of the Australian Open from 2027. From first serve to championship point, the brand will present elevated style on and off the court, combining sharp tailoring, sports-inspired looks, and standout hospitality moments – all on one of the world’s most prestigious sporting stages.

The partnership is rooted in a shared mindset: ambition, world-class performance, global relevance, and a bold confidence that defines both Boss and the Australian Open. As a cornerstone of Boss’s cultural strategy, the collaboration creates a powerful platform to connect with fans at scale, unlock new audiences, and showcase the full world of Boss through its collections, ambassadors, and experiences.

“We are absolutely excited to partner with the Australian Open, which is one of the most dynamic and globally followed sporting events worldwide,” stated Daniel Grieder, CEO of Hugo Boss. “This collaboration is a natural fit for us, as it brings together two brands that share the same commitment to excellence, innovation, and creating extraordinary experiences. Tennis is part of Boss’s DNA. The partnership therefore marks an important step in our strategy to further drive the brand’s positioning at the intersection of sport, lifestyle, and global fan engagement.”

“The Australian Open has always been about more than just great tennis – it’s about atmosphere, innovation, and setting the benchmark for major sporting events worldwide,” Tennis Australia CEO Craig Tiley said. “Boss is a global brand with impeccable credentials in sport and style, and together we will enhance how our tournament looks, feels, and connects with fans from around the world.”

In its new role as the tournament’s Official Lifestyle Outfitter, Boss is set to transform the visual identity of the Australian Open like never before. Dressing up to 4,000 staff, officials, umpires, and ball kids, Boss will make an unmistakable impact, setting its signature confident style from the very first moment. The result is a bold step change: a unified, elevated, and distinctly modern aesthetic that will be visible across every corner of Melbourne Park. A curated palette of refined shades, subtle nods to the brand's tailoring expertise, and easy-wear silhouettes engineered for the Melbourne heat come together to signal a new era in tournament style – perfectly in tune with the fast-paced, high-energy spirit of the event.

Boss branding will also be displayed around the venue, including inside the iconic Rod Laver Arena. Beyond the tournament’s courts, the collaboration will extend to exclusive replica teamwear, merchandise, and off-court capsules. Dedicated pop-up stores, immersive on-site fan activations, an elevated guest experience, and further special events will bring the Boss attitude to every part of “The Happy Slam.” Online and in store, impactful storytelling and curated initiatives will also share the sunshine spirit of Melbourne with tennis fans around the globe.
In a powerful opening serve that ignites excitement and sets the tone for what’s to come, the brand has created bold visuals to accompany today’s announcement. Bridging the worlds of fashion and sport, the imagery reimagines tennis balls in tactile fabrics – from rich wool to soft alpaca – as a nod to Boss’s roots in craft and tailoring.

The brand’s history in tennis dates back to the 1980s, when it embarked on a 15-year-long sponsorship of the Davis Cup, the world’s largest international team competition in men’s tennis. Most recently, Boss has welcomed star players Taylor Fritz and Matteo Berrettini, as well as emerging talents Noma Noha Akugue and Ella Seidel, as brand ambassadors, and since 2022 has served as title sponsor of popular ATP 250 tournament the Boss Open in Stuttgart. Through the Australian Open partnership, Boss is cementing its presence in tennis at one of the world’s most prestigious tournaments, and propelling its position as a leading global style authority at the intersection of sport and culture.

The Lycra Company, a global leader in fiber and technology solutions for the apparel industry, today announced the global launch of Lycra® VintageFX fiber at Kingpins Amsterdam, April 15-16. This next-generation fiber delivers the authentic look of vintage denim in modern silhouettes while providing the comfort, fit and shape retention that consumers expect from stretch denim.

Designed for denim and woven fabrics, Lycra® VintageFX fiber sets a new performance benchmark, enabling brands and mills to recreate rigid, heritage-inspired looks without sacrificing recovery, durability, or wearer comfort. This innovation responds to the industry’s shift toward away-from-the-body silhouettes and looser fits—including wide-leg, flares, boyfriend, and mom jeans—where maintaining fit and stability remains a challenge, particularly in the waist, hips and crotch.

“After previewing Lycra® VintageFX fiber at Kingpins Amsterdam last year, we’re excited to officially introduce it to the global denim community,” said Ebru Ozaydin, product category director – denim and ready-to-wear at The Lycra Company. “For brands and garment makers, its dual-core yarn construction, low growth, and high recovery open new design possibilities. These features enable compact, less bulky fabrics with an authentic vintage appearance, but without the instability of traditional low-stretch constructions.”

A New Standard in Comfort Stretch Denim

Engineered with a proprietary and patent-pending fabric application, Lycra® VintageFX fiber works in tandem with Lycra® fiber in a dual-core structure. During finishing, this fiber shrinks under heat, controlling elastic extension, protecting the fiber core, and delivering enhanced shape retention to reduce bagging and sagging. Additional technical benefits include:

• Low growth and good recovery, even after industrial wash and bleach processes
• Compact fabric construction for better drape and less bulk
• Authentic vintage denim aesthetics with soft compression and a gentle-to-the-skin feel
• Reduced seam slippage for improved garment quality and longer wear life

The result is a fabric solution that supports modern comfort stretch denim, balancing heritage-inspired looks with the needs of contemporary lifestyles. Apparel made with this fiber also qualifies for Lycra XTRA LIFE® fiber branding at the point of sale, reinforcing garment durability.

Value for Brands and Retailers

“Lycra® VintageFX fiber enables brands and retailers to deliver a strong consumer value proposition, filling a critical market gap while elevating collections,” said Arnaud Ruffin, vice president, brands and retail at The Lycra Company. “This product shows how our commitment to textile innovation supports the value chain with unique, performance-driven solutions.”

Lycra® VintageFX fiber has passed The Lycra Company’s rigorous testing protocols, ensuring consistent performance, durability, and quality. Brands and mills can also access co-creation opportunities at Lycra® Labs, where they can tap into deep technical expertise and collaborative innovation to bring distinctive stretch solutions to market.

Show visitors can also experience sample fabrics and garments made with Lycra® RENEWABLE fiber, which is made from 70 percent plant-based resources. This spandex supports efforts to reduce the environmental impact of apparel, offering a more sustainable option for denim. Lycra® ADAPTIV fiber, which offers a second-skin fit and enables size-inclusive denim, will also be on display.

Kingpins’ guests are invited to visit The Lycra Company’s representatives at stand B10 at the SugarFactory in Amsterdam. To schedule a meeting at the show or learn more about Lycra® VintageFX fiber, visit this website.

The Geneva watch fair opens on Tuesday and will be taken as a barometer of how the Middle East war is affecting the luxury goods sector.

The Watches and Wonders salon -- the industry's biggest annual event -- sees 65 major watch brands, including Rolex, Patek Philippe, Cartier and Bulgari, display their latest creations until April 20.

Despite uncertainties surrounding travel from the Middle East and Asia, organisers are expecting around 60,000 visitors during the week, compared to 55,000 last year.

"The war is going to be a big talking point," said Jon Cox, an industry analyst with Kepler Cheuvreux financial services.

Before the conflict erupted on February 28 with the first US and Israeli strikes on Iran, Cox was forecasting a rebound in Swiss watch exports in 2026, expecting "mid-single-digit growth" of around five percent, he told AFP.

But the uncertainties triggered by the conflict are now likely to leave the Swiss watch industry facing "weak growth" in exports, he said.

Jean-Philippe Bertschy, an analyst at Swiss investment managers Vontobel, was forecasting four-percent growth at the start of the year, but is now leaning "more towards stagnation", adding that he would revise his estimates for 2026 after gauging the mood at Watches and Wonders.

The Middle East accounts for just under 10 percent of the watch market.

That "is not insignificant", Bertschy told AFP, especially since the region has witnessed "strong growth in recent years", with particular enthusiasm for complex watches at the top end of the industry.

But the war's impact on consumer spending and tourism remains unclear.

It is "extremely difficult" to make forecasts in the current climate, Bertschy said, adding that the watch fair was a way to "take the temperature" of the sector.

Attracting younger buyers

With the demise of the Baselworld salon following the Covid-19 pandemic, Watches and Wonders in Geneva has established itself as the pinnacle showcase for watchmaking in Switzerland.

Within less than five years, the number of exhibitors has almost doubled, organisers said, with the 2026 edition welcoming 11 new brands, including Audemars Piguet, one of the most sought-after among collectors.

Once reserved exclusively for industry professionals, the Geneva salon has gradually opened its doors to the public, turning into a platform for showcasing watchmaking expertise.

While the first four days are for the industry only, the weekend and Monday are open to the public, with organisers seeking to seduce a new generation of younger buyers.

Organisers noted that a quarter of tickets last year were sold to under-25s.

Watchmaking is Switzerland's third-largest export sector, after pharmaceuticals and industry.

In 2025, the sector's workforce in Switzerland shrank for the first time since the Covid crisis, falling by 1.3 percent to 64,807 people, according to the Swiss Watch Industry Employers' Association.

The sector had suffered a blow during the pandemic, but bounced back quickly afterwards, breaking records for three consecutive years thanks to so-called "revenge purchases", with some consumers using the savings made during lockdowns to stock up on luxury watches.

But with a drop in demand in China, followed by the US tariffs blitz, the last two years have been tough for the sector.

Swiss watch exports first fell by 2.8 percent in 2024 and then by 1.7 percent in 2025, to 25.6 billion Swiss francs ($32.5 billion).

French luxury leader Kering, held back by difficulties at Gucci, is facing a decisive moment. This week, the group will present its new roadmap during a highly anticipated investor day in Florence.

All eyes are on the speech by Italian Luca de Meo, the group's chief executive officer, at the Capital Markets Day on Thursday in Gucci's birthplace. The stakes are high for the former Renault boss, who was appointed by François-Henri Pinault last June. He must demonstrate that Kering can restore the desirability of its houses, including Yves Saint Laurent, Bottega Veneta and Balenciaga, in a significantly slowing global market.

Urgent recovery for Gucci

While the luxury sector is going through a less prosperous period, Kering has particularly suffered from a decline in popularity for its flagship brand, Gucci, which accounted for approximately 40 percent of its turnover last year. The brand was heavily penalised by its underperformance in China, which has long been its main growth driver.

The figures speak for themselves. In 2025, Kering's sales fell by 13 percent to 14.7 billion euros (17.31 billion dollars), with net profit divided by more than ten. For Gucci alone, the decline was even more severe, with sales of six billion euros compared to 10.5 billion three years earlier.

De Meo method: deleveraging and financial agility

Upon his arrival, the captain of industry set a brisk pace to clean up the finances. Kering quickly sold its beauty division to the giant L’Oréal for four billion euros and postponed the acquisition of Valentino by two years.

The group, which will unveil its first-quarter sales this Tuesday after the market closes, has also increased its real estate disposals. In early April, it sold a majority stake in a prestigious Milan building for over one billion euros. As a result, at the end of 2025, debt stood at eight billion euros, 2.5 billion less than a year earlier.

Managerial “gamble” that is paying off

For Luca Solca, an analyst at Bernstein, the choice of Luca de Meo is paying off: “A gamble had to be taken because things were going badly. Someone was needed who could potentially make a difference very quickly, and Luca de Meo proved to be the right choice in this respect,” he told AFP.

Anne-Laure Bismuth from HSBC bank agrees: “Luca de Meo's arrival was a bit surprising because he doesn't come from the luxury industry, but he brings a new vision (...) with different processes.” HSBC also anticipates a return to growth as early as 2026, with a projected 5 percent increase for the group.

Diversification and end of “over-dependence”

Internally, the transformation is accelerating. Francesca Bellettini has been appointed CEO of Gucci, and two new divisions — industry and clients — have been created to optimise operational efficiency.

Kering is also seeking new growth drivers in jewellery (Boucheron, Pomellato) to reduce its “over-dependence” on Gucci, a term used by Luca de Meo himself in an internal memo at the end of 2025. Now relieved of debt stress, the executive can focus on the core issue: reigniting the creative flame of its brands.

A commercial court has ruled in favour of Amoniss' proposal in the JOTT case.

After being placed into administration, the Marseille commercial court has selected the offer from the Amoniss group to take over JOTT (Just Over The Top), a French brand of lightweight down jackets positioned in the accessible premium segment.

The successful bid includes a sale price of approximately three million euros, a plan to retain a portion of the jobs (a minimum of approximately one hundred employees) and the takeover of part of the store network.

As a reminder, the Amoniss group is an investment company based in the Lille region, in Villeneuve-d'Ascq. It is led by Salih Halassi and already owns the brands Chevignon, Lee Cooper and the retailer Pimkie (acquired in 2023 from the Mulliez family).

Amoniss received the majority of votes from the stakeholders in this case: the administrator; the court-appointed representative; the wage guarantee scheme (AGS); the bank; and others.

In addition to reviving a regional brand, the acquisition by this fund signals a collectively chosen model for the French fashion industry.

This is especially true since the 'MARS' takeover project, led by JOTT executives and supported by the Social and Economic Committees (CSE), the AGS and Cepac, was not selected by the court.

Takeover confirmed, a project to be built

The northern-based group aims to take over 77 points-of-sale (21 branches, 16 affiliates, 40 franchisees) and 'at least' one hundred employees out of the 240 currently employed in the stores and at the Marseille head office.

“This decision now opens a new, equally decisive phase: that of the industrial, strategic and regional project that will be carried forward in the coming months and years,” stated Jocelyn Meire, president of Mode in Sud, a key player in the fashion industry in the Sud region, in a press release.

“To Amoniss, I want to say that Mode in Sud will approach this new stage with an open mind, but also with high expectations. The success of this project will depend on its ability to establish a lasting presence in its home territory. It must also preserve the brand's identity and engage in dialogue with the key players in its natural environment.”

“We will be there to support, propose and structure — but also to ensure that the implicit commitments linked to this takeover are put into concrete action.”

Mode in Sud is available to the new owners to quickly open a demanding and constructive dialogue that meets the challenges at hand.

Sales at the world's leading luxury group, LVMH, fell six percent in the first quarter of the year as the war in the Middle East depressed business in the region.

The company, best known for Louis Vuitton handbags, Dior fashion, Moet & Chandon champagne and Tiffany jewellery, registered 19.1 billion euros ($22.4 billion) in sales in January through March. On an organic basis - excluding exchange rate fluctuations and changes in the business - sales rose by one percent.

"LVMH maintained its powerful innovative momentum and showed good resilience in a geopolitical and economic environment that remained disrupted, amplified by the conflict in the Middle East," the company said in a statement. The company said the war launched by the United States and Israel on Iran "had a negative impact of around one percent on organic growth for the quarter", but expressed hope that it would make up for lost sales once consumers return to shops.

The conflict, which saw Iran launch missile and drone strikes against its Gulf neighbours, severely impacted air travel through the region -- a key hub for long-haul flights between Europe and Asia, and disrupted transport of oil and gas through the Strait of Hormuz.

The Middle East region accounts for around six percent of LVMH's sales. LVMH, like other luxury groups, has suffered in recent year from the slowdown in growth in China, evoked positive trends there as well as the United States.

The spike in trade tensions between the two countries last year contributed to a five percent slide in LVMH's sales to 80.8 billion euros.

LVMH saw net profits fall 13 percent in 2025 to 10.9 billion euros, mostly due to an exceptional tax on large French companies.

The fashion and leather goods segment - LVMH's biggest - saw sales slide nine percent in the first quarter of 2026 from the same period last year. It was also the only product segment to contract on an organic basis. (AFP)