After several seasons dominated by minimalism and pared-back dressing, Paris Fashion Week SS27 signaled a renewed appetite for high-impact glamour for both night and day. For designers, metallic finishes, particularly in gold and silver, offered an immediate and effective way to deliver that sense of luxury and indulgence.

At Saint Laurent, what might be Anthony Vaccarello’s final show was mostly played out in many shades of gold, combining metallic leather, crackly cotton matelassé, brocade and metal-thread lace.

Beyond metallic fabrics, a broader story of light, reflection and shimmer emerged across the Paris collections, encompassing sequins, glossy surfaces, lamé and other reflective finishes, including a gleaming breastplate at Maison Margiela made from crushed silverware.

For retail buyers, the opportunity for SS27 lies in treating metallic as a wardrobe-enhancing finish rather than a novelty trend, using subtle sheen and reflective surfaces to make familiar silhouettes feel more polished and luxurious.

Saint Laurent S27 by Anthony Vaccarello

Look 6: a voluminous, oversized metallic gold crinkled jacket paired with a matching draped high-slit wrap skirt and a flowing mousseline trailing scarf. Metallic ankle strap sandals finished the look.

Look 9: a metallic gold double-breasted trench coat with a self-belt, styled with an oversized navy-blue mousseline scarf wrapped around the neck that trailed behind, paired with orange pointed-toe ankle strap pumps.

Look 11: a metallic gold utility-style structured jacket paired with a matching below-the-knee pencil skirt, an olive-green chiffon blouse and trailing olive-green mousseline neck scarf, with patent ankle strap pumps.

Dior SS27 by Jonathan Anderson

High-shine, snakeskin-textured metallic pants with a light blue ruffled long-sleeved sheer blouse. Accessories included a swan shaped minaudière, gold-finish station chain necklace and strappy sandals.

Burc Akyol SS27

A high-shine metallic silver wrap coat cinched with a gathered gold-tone waist accent, paired with classic black pointed-toe stiletto pumps

Louis Vuitton SS27 by Nicolas Ghesquière

A sleeveless knee-length scoop-neck chiffon shift dress with a crinkled metallic silver overlay styled with black point-toe oxfords with stud detailing.

Cecilie Bahnsen SS27

A textured, metallic silver matelassé hooded anorak jacket paired with coordinating shorts, styled alongside slouchy grey socks and black lace-ups.

Ren Chunmei SS27

A metallic gold mini dress with dimensional floral appliqués, intricate embroidery, and oversized golden tassels. Accessories included metallic floral arm cuffs, open-toed platform heels with crisscross ankle straps, and a gold bird-shaped clutch.

Edward Cuming SS27

An orange tiger-stripe crewneck graphic t-shirt adorned with a stylized cartoon tiger face and a distressed, crinkled metallic gold pleated midi skirt that featured a distinctive textured foil print overlay.

Rubin Singer SS27

An asymmetric off-white jacket with a geometric overlap fastened by a single button, a high stand collar, wide sleeves and a high-waisted knee-length pencil skirt with a croc embossed gold metallic finish. Nude pointed-toe pumps completed the look.

Balmain SS27 by Antonin Tron

A cropped, voluminous mauve bomber jacket with exaggerated quilting worn over a knit green bandeau/bra top and paired with a metallic silver ruched midi skirt featuring a thigh-high slit. Accessories included a lariat necklace, diamante eyewear and black open-toe mules

Lanvin SS27 by Peter Copping

A floor-length, fish-cut gown paired with a sheer mesh V-neckline panel, crisscross halter straps and a structured, geometric peplum waist overlay covered in silver and black sequins in abstract linear patterns.

Elie Saab SS27

A double-layered corset-style lace top with floral embroidery, paired with a shimmering, floor-length silver sequined skirt and strappy metallic sandals

Isabel Marant SS27

A slouchy, oversized black jacket worn over a metallic silver sequined slip dress layered over black calf-length leggings, with a delicate lace trim. Accessories included statement chandelier earrings, a thin black studded belt and strappy black sandals.

Maison Margiela SS27 by Glenn Martens

A white draped floor-length gown under a rigid bodice crafted from crushed and flattened vintage silver tableware (such as teapots, platters and silverware).

CEO Interview

The Italian fashion brand Liu Jo is collaborating with Gigi Hadid on 'The Gigi Hadid Edit', a selection of items curated by the model from her personal perspective on style. The first drop is entirely focused on denim.

Selection as a starting point

According to Liu Jo, the collaboration goes beyond a traditional endorsement. The concept of curation is a central theme of the project. Hadid has assembled a wardrobe that combines international flair, everyday versatility, and the brand's denim expertise. The brand describes the result as an edit that represents a confident, independent, and spontaneous femininity.

The selection is intended to be interpreted in a unique way by each wearer, according to Liu Jo. The brand sees this as a contemporary approach to fashion, where conscious choice and self-expression are key.

Denim, digital prints and cowboy boots

Denim has been part of Liu Jo's DNA for years and therefore forms the basis of the first drop. The edit consists of complete denim looks with contemporary proportions and an urban feel, where overshirts, bomber jackets, and Napoleon jackets are the key pieces. Statement pieces are combined with coordinated silhouettes.

Some of the designs feature digital prints applied directly to the fabric. Pieces with a lived-in look are given extra character through refined decorative details. Leather cowboy boots with western influences, tonal stitching, and a tactile finish complete the selection.

Conversation with a new audience

Maurizio Croceri, chief executive officer of Exelite S.p.A., Liu Jo's parent company, calls the edit an important step in the brand's development. “We chose to start with what defines us most, denim, and have it interpreted from Gigi Hadid's personal and international perspective,” said Croceri.

According to Croceri, the project is not about imposing an image, but about creating value through authentic choices. These choices are intended to make the product appealing while strengthening Liu Jo's dialogue with a new audience.

Hadid says she chose the items that best reflect her personal view on style. “Every look tells a story and every selection is a statement of identity,” said the model. “Liu Jo shares that same vision and together we have created an edit that celebrates personal style, encourages self-expression, and inspires everyone to show their individuality.”

With the first drop, Liu Jo aims to underscore its vision of fashion as a space for freedom and self-expression.

UK fashion retailer New Look has reopened its store at Festival Retail Park in Stoke-on-Trent following a refurbishment project unveiled on October 9, 2026.

Interview

Luxury department store Liberty London is continuing efforts to solidify the foundations of its in-house fashion category with the appointment of Sinead O’Brien as its new head of design.

O’Brien had previously worked under Vivienne Westwood before taking up consultancy roles at brands like Erdem and Roksanda. At Liberty, her first collection will be released in spring 2028, with two main collections and two pre-collections planned for each year.

Her appointment comes as Liberty renews its focus on ready-to-wear and textiles as a whole, having recently expanded its fabric department by 140 percent and revealing plans to further grow its womenswear selection.

Its AW26 collection, ‘Modern Reverie’, serves as a glimpse of what is to come, particularly for print, a signature element of Liberty’s design values that takes on a more immersive, architectural role for the line. The team’s exploration of an extensive archive is also evident in the use of heritage motifs, like the Eva Belle, and historical references that take on a contemporary twist.

The collection’s launch ushers in a new era of design led by O’Brien, who spoke to FashionUnited on her vision for the coming period at Liberty.

What about Liberty drew you to the head of design position? How would you like to see Liberty’s design proposition develop?

Since I began studying fashion, my interest in the relationship between past and present has always been a real focus - an obsession. My thesis looked at how fashion uses the past as a method of feeding the future. At Vivienne Westwood, I learned how to work with a fashion archive and began to understand brand codes and how to use layered referencing to give a collection a strong sense of identity. The incredible archive and rich history of print and design that is unique to Liberty is what drew me to the role.

As I begin to work on the collection, I’m exploring how our print language and RTW silhouettes can evolve. I would like to see us expanding into new categories to create a more complete womenswear and menswear offering, while bringing the language of our interiors and scarf designs into RTW. Things naturally influence one another in our studio environment, and I want to really lean into that.

With a history spanning over 150 years and an archive of more than 65,000 pieces, how will you balance Liberty’s heritage design language with the need for products relevant to today’s customer?

The Liberty archive is the ultimate source of inspiration to me, and it holds endless possibilities. Being curious and searching for the unexpected is important because I want to find something new - perhaps presenting what is unseen alongside the archetypes we already know from Liberty. I want to take the archival prints on a journey through the design process and through the collection, deconstructing elements, reworking them and developing new techniques.

Following the expansion in fabrics and haberdashery, are there any other categories where you see potential for expansion or reimagining?

I think there is a huge opportunity to continue evolving the fashion proposition and to explore how Liberty’s design language can move across different categories. There is a lot of potential in taking the codes people associate with Liberty and finding new ways to express them.

What role will new collaborations, materials and manufacturing techniques play in evolving Liberty’s design identity while maintaining its craftsmanship roots?

Craftsmanship is really important to us both in our manufacturing and in the design studio. We recently started working with a great British knitwear company, Albion, and with Manteco, an Italian woollen mill, who we have worked with on our first collection of coats for womenswear.

We really value our collaborations and look to our mills and printers for their expertise as we push the boundaries of how we work. We have some very long-standing relationships, and it’s exciting when they come to us with a new technique, print or weave they’ve been developing and it starts to inform our process in the design studio. That feedback cycle is vital, and for me, it’s the synergy of both sides striving to discover what’s possible that makes collaborations so valuable.

How will evolving consumer tastes influence Liberty’s approach to colour, pattern, materials and product design, and where do you see the biggest shifts in demand?

People who love print feel very comfortable in our iconic, colourful, designs, but we’re also interested in developing the artworks into more tonal and textured fabrications, offering another way into the world of Liberty. Having moments of ‘breathing space’ in these tonal variations is important within the collection and it speaks to a different customer who wants to wear pattern in a quieter way - there a richness and level of sophistication to that too.

As a leading European hub, Düsseldorf Airport offers brands a distinctive and highly attractive setting in which to engage an international audience. In a city renowned for its sense of style, trends and fashion, the airport provides a contemporary retail environment that transforms shopping into a true experience. While the airport’s gastronomy offers new impulses through international concepts, strong brands like GANT, Marc O’Polo, LLOYD, FALKE and Victoria’s Secret contribute striking fashion accents. At the same time, emerging labels such as My Jewellery use the location to introduce themselves to the travel‑retail market. This way, the airport of Germany’s fashion capital evolves into a platform for brands aiming to connect with new target groups and expand their presence.

Few places so successfully unite such high visitor numbers with an audience so receptive to new inspiration: business travellers, international guests and local visitors who readily embrace trends and value high‑quality products. For brands, the result is maximum visibility, direct feedback and a context that naturally stimulates purchasing. “As the biggest airport in North Rhine‑Westphalia, we provide a venue where reach and relevance align,” Pia Klauck, Head of Commercial Operations at Düsseldorf Airport, explains. “Travellers actively decide to spend time here, remaining curious and often making impulsive purchases. This creates a setting where brands not only become visible, but can interact with travellers directly in a direct and inspiring way.”

The international travel‑retail sector has been expanding dynamically for years, and airports remain among the most sought‑after retail environments. With the major upgrade of its commercial infrastructure in 2026, Düsseldorf Airport offers a rare chance for established brands, emerging labels and start‑ups to secure their position before demand climbs even higher. Whether a short‑term pop‑up, a bold flagship store or a first entry into the German market, the airport provides a stage with immediate impact.

Its unique appeal lies in the blend of global reach and strong regional roots. Here, international lifestyle brands find an environment that brings their products and ideas to life. In addition, the airport provides ideal conditions for labels taking their first steps into international travel retail or wishing to test their concepts in this dynamic market.

Among them is My Jewellery, one of Europe’s most vibrant and fastest‑growing fashion and accessories brands. What more than a million followers have already celebrated on social media for quite some time has now taken shape in European travel retail through the Dutch company’s new airport boutique. With its carefully curated selection of waterproof jewellery, lifestyle gifts and travel‑friendly fashion accessories – all of which are centred on affordable luxury and impulse purchases – the My Jewellery boutique delights both trend‑savvy passengers and airport visitors.

“We consider ourselves an active partner,” Pia Klauck emphasises. “Our aim is to offer the strongest possible start.” Specifically, this means that the Centre Management team accompanies new partners through every stage, from planning and space development, right up to opening day. A customised marketing package ensures that new fashion concepts quickly attract the attention they deserve. Behind this lies a robust network of proven tools, media channels and industry contacts, enabling labels and shops to realise their vision and sustainably connect with their target audience.

A particularly attractive window of opportunity is now opening for established brands, emerging labels, newcomers and start‑ups. Those who take the leap, are sure to benefit from high visibility, strong visitor traffic and access to an international audience that is receptive to new products and fresh concepts. In tandem, the airport offers direct contact with a diverse customer base – business travellers, holidaymakers, international guests and visitors from the region. This creates ideal conditions for increasing brand awareness, unlocking new target groups and generating sustainable growth.

The Karl Lagerfeld brand is partnering with Mexican developer Grupo Bosque Real to develop its first residential complex in Latin America. Located in Huixquilucan, Mexico, this 73-residence project translates the designer's aesthetic into an architectural context. This project joins other residential complexes developed by the brand worldwide.

After announcing the opening of its first café in Amsterdam last July, the Karl Lagerfeld brand (owned by G-III Apparel Group) is tackling a 38-storey tower. The real estate project will include 73 residences, including two penthouses and a ground-floor flat. Each apartment, with a surface area of over 475 square metres, will offer three bedrooms and large private terraces. The interior spaces were developed in collaboration with The One Atelier studio, under the supervision of Caroline Lebar, creative director of interior design at Karl Lagerfeld.

Pier Paolo Righi, chief executive officer of Karl Lagerfeld, explained in a statement: “Our partnership with Grupo Bosque Real gives us the opportunity to translate Karl's distinctive perspective into a whole new context, with our first residential project in Latin America”.

The interior architecture combines the fashion house's heritage with the natural and cultural environment of Mexico. The main lobby features a monumental brushed stainless steel library, 9.71 metres high, paying homage to Karl Lagerfeld's passion for books. Furniture from the Karl Lagerfeld Maison line is also used in the communal areas, which include a private cinema.

The brand states that the design favours locally sourced materials, such as basalt, tezontle and Tzalam wood, which contrast with polished concrete and artisanal terrazzo finishes. Residents will also have access to shared facilities including a swimming pool, a panoramic wellness area, a padel court and various reception areas.

The project's inauguration was held in Mexico City on October 8. Its completion, scheduled for early 2029, will add to the brand's international residential portfolio, which already includes developments in Lisbon, Marbella, Dubai and Ras Al Khaimah. As a reminder, the brand opened a luxury hotel in China (Karl Lagerfeld in Macau) in June 2023.

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

UK fashion and homeware retailer Matalan is set to open its first store in Clacton this November, expanding its physical presence in Essex.

British footwear brand Jennifer Chamandi has opened its first flagship boutique on Clifford Street in Mayfair, London, marking a major retail expansion as the label approaches its ten-year anniversary.

Report

British retailer END. and Danish fashion label Samsøe Samsøe have joined forces on an exclusive collection of 24 pieces spanning menswear, womenswear and unisex staples. The collection launches on October 9, 2026.

The collaboration is one of the first collections developed from start to finish under Samsøe Samsøe's newly appointed head of menswear, Liam Hodges, and its longer standing head of womenswear, Marly Roosen.

"From the first conversation, the Samsøe Samsøe team brought an energy that made this project a joy to work on," said Martin Wieczorek, chief product officer at END. "We pushed each other's boundaries across design and product and landed on something neither of us would have made alone; a shared wardrobe in the truest sense. It's an impactful capsule, and one I'm confident our customers will connect with immediately."

Classic signatures reworked

The collection reworks classic Samsøe Samsøe signatures through updated proportions and contemporary silhouettes. Knit, denim and leather form the basis of the range, which is presented in a dark neutral palette of monochromes, olive and plum.

The line-up ranges from relaxed tailoring and outerwear to textured knitwear, leather separates and footwear. According to the two companies, these familiar wardrobe staples have been reconsidered through their shared creative lens.

"Collaborating with END. gave us the opportunity to look at Samsøe Samsøe's design language with a new perspective," said Hodges. "We wanted to create a contemporary collection that felt relevant and focused, bringing both brands' points of view together in an authentic and exciting way."

Roosen described the collaboration as an exciting process. "Bringing our design language together with END.'s point of view to create a collection that feels relevant, considered, and true to both of us. Working with premium fabrics, intentional silhouettes throughout which resulted in a collection with a distinct identity that can be styled in many ways."

One garment, two wearers

At the heart of the collaboration is the idea of a shared wardrobe, with a collection designed to be worn by everyone, without distinction. The campaign, photographed by Luca Strano, takes that concept literally and adopts an understated approach centred on movement, dressing and exchange.

It brings together two people, one based in Copenhagen and the other in London. Every garment appears twice, worn by both and passed between them on camera.

The exchange of clothes becomes the central action of the campaign, connecting two individuals in different cities. According to the brands, it reflects the collaborative approach behind the collection.

It is now official: Anthony Vaccarello is leaving Saint Laurent. The French fashion house confirmed on Friday morning that its creative director, who has led the label for ten years, is stepping down.

As long suspected, Vaccarello's gold-gilded show for the SS27 season in Paris was his finale at the heritage house. Saint Laurent announced that the new creative leadership will be revealed shortly.

“I would like to extend my sincere thanks to Anthony for his contribution to Saint Laurent over the past ten years,” said Luca de Meo, CEO of Kering. “With his creative vision and high standards, he has helped to strengthen the lasting influence of one of the greatest French couture houses as we open a new chapter in its history.”

Vaccarello took over as successor to Hedi Slimane in 2016, leading Kering's second-largest brand. He redefined the label's sensuality and focused on cinematic fashion shows that made Paris itself his runway.

Under his creative leadership, Saint Laurent attracted some of Hollywood's biggest names as brand ambassadors and made its shows the most coveted front-row seats in the city. The appeal was also reflected in the numbers: according to Business of Fashion, revenue nearly tripled, reaching a peak of 3.3 billion euros, as Vaccarello's vision fuelled demand for the house's entire offering.

In 2023, growth slowed as aspirational customers began to pull back on luxury spending. Since then, Saint Laurent has increasingly focused on wealthier clientele, a change of course that gained momentum after revenue fell to 2.6 billion euros in 2025. In the first half of 2026, the house returned to growth.

This is the backdrop against which the change is taking place. Vaccarello leaves behind a house with a sharply defined identity and a recalibrated clientele in a tougher luxury market. Whoever follows him must preserve the former and build on the latter. Paris will be watching closely to see who is entrusted with this task.

Amsterdam-based cashmere label Extreme Cashmere is opening a store on October 11 at 63 Wukang Road in Shanghai. This marks the brand's first store in the Chinese city.

WeWoreWhat is entering a new chapter as founder and chief executive Danielle Bernstein relaunches the 15-year-old fashion brand with a new creative identity, "elevated" materials and a starker separation between the company and her personal profile.

The relaunch comes after years of controversy surrounding Bernstein and WeWoreWhat, including repeated accusations from designers and industry insiders that the brand had copied or closely replicated existing designs. Bernstein has previously denied such accusations, but now acknowledges that the brand’s approach to inspiration and design has at times damaged trust.

In the relaunch announcement, Bernstein said: “After 15 years, I have a much clearer understanding of what WeWoreWhat is and what we do best,. We interpret what we love in fashion for our customer in a way that feels elevated, wearable and accessible. But there were moments when we didn’t draw a clear enough line between inspiration and getting too close to someone else’s work, and I was too quick to defend instead of listen. I understand why that damaged trust.”

Founded by Bernstein in 2011, WeWoreWhat has grown from her personal social media style platform into a multi-category fashion business spanning ready-to-wear, denim, swimwear, outerwear and accessories. The relaunch aims to establish the company as a standalone brand, with its social account moving from @shopweworewhat to @weworewhat, while Bernstein’s account will become @daniellebernstein.

The brand is also expanding its WeWoreWhat Premium line for autumn 2026 from an initial two-style test to 11 pieces made from genuine suede, leather and ponyhair. The collection includes leather jackets, suede outerwear, skirts and ponyhair pieces, with all products priced below 800 dollars.

The new identity launches in full on October 13 across the website, logo, labels, packaging, social channels and campaign imagery. Bernstein has also launched a personal Substack addressing her experience building the company and reflecting on past controversies.

She added: “I’m incredibly proud of what I’ve built, and there are things I regret and would do differently today. Both can be true. Buying WeWoreWhat back gave me the opportunity to take everything I’ve learned and think bigger about what this brand can become.”

Movado Group, Inc. (Movado Group) has entered into a binding agreement to sell a 95 percemt interest in its Swiss luxury watch brand Ebel for 66.5 million dollars to a strategic buyer group.

Canadian apparel brand Aritzia Inc. (Aritzia) reported strong financial results for the second quarter of fiscal 2027 ended August 30, 2026, driven by broad-based demand across retail and digital channels.

UK retail footfall fell 2.9 percent year on year in September, down from a 1.7 percent decline in August, according to the latest BRC-Sensormatic data.

When Sam Fender walked out on stage wearing one of Somebody Else’s Guys’ designs, the brand’s founder Corey Dixon knew she had arrived at a turning point. “That was when the North East first found the brand,” she told FashionUnited. Next to the onslaught of new attention brought to the upcycling label from an audience that stretched even beyond the singer’s own fans, the recognition reaffirmed Dixon’s insistence on retaining Newcastle as a base.

“I’m proud to be a Geordie,” she said. “There are people that follow me that I don’t even know, but they still have shown love. I don’t think I would get that in another region. The love from the North East is so special. It’s not even just Newcastle, it’s the North East as a whole. The love is like no other.”

Since then, Somebody Else’s Guy has only been on the up. Dixon hosted what was described as Newcastle’s first Sustainable Fashion Show in early September, with support from local media company High Life North, before going on to secure a pop-up space to sell her work in Fenwick Newcastle, a partnership that has since expanded to the retailer’s York location.

From covid masks to fashion runways

It's a far cry from where Dixon was at the beginning of the pandemic. Following the loss of her mum, the designer began making face masks and donating the money to Cancer Research. After going viral, Dixon started to question whether there would also be interest in clothing creations. Whilst prior to the pandemic she had made costumes for cruise ships, now her focus lay in upcycling clothing, at first using items that were donated to her directly.

Starting by sharing her creations in videos on social media, Dixon soon garnered a larger following and, while not initially at the core, a more distinct motive to maintain circular values. From that, Somebody Else’s Guy was born. With it, Dixon has ensured that experimentation has remained at the forefront of her design process. By intentionally avoiding trends, and channelling her theatre background, her process instead relies on giving herself the freedom to express her love of fashion.

Bringing a gender neutral, upcycling brand to the Fenwick shop floor

By keeping upcycling at the centre of the business, Dixon was taking the risk that has seen many upcycling-focused brands struggle to secure commercial success. From the outset, however, she sought to lay the groundwork for future plans. Taking a shot in the dark and reaching directly out to Fenwick, Dixon was invited to present her brand concept to the department store’s team and has since held a number of pop-ups in the Newcastle site, before ultimately launching a more permanent presence.

By adding Somebody Else’s Guy to its shop floor as the first gender neutral brand, Fenwick is only underlining its positioning as a supportive pillar to emerging talent. Its womenswear department in Newcastle, specifically, is a maze of brands both established and up-and-coming, giving each equal footing and access to clientele browsing the floor. Dixon understands that in this setting, not everyone will become a customer or even understand the concept.

When observing passers-by, Dixon said she often finds the older generation in particular express doubt over the use of pre-loved items and their value. By opting to keep the existing labels of upcycled pieces, and also adding her own, she has spotted a hesitancy to fully adopt the idea from this demographic. Overall acceptance, however, is more broad, and has attracted new clients across the spectrum, from celebrities on the red carpet to fashion lovers on the street.

“I’ve chosen to do this brand to make people feel confident in who they are,” Dixon said. “That’s what’s more important to me, to push boundaries a little bit and let people be who they want to be, which is why I made it a gender-neutral brand. I think fashion is like armour. You can have such a bad day, you can not feel confident, and then you can put something good on and it kind of makes you feel like it gives you that power again. That's somebody else's garment. It's making you feel powerful.”

‘I think fashion is like armour’

This message was prevalent at Somebody Else’s Guy’s Sustainable Fashion Show. The event, held early in September at Newcastle Contemporary Art Gallery, was designed to not only celebrate the brand’s five-year anniversary, but also bring together the community that has formed around it. Akin to the fun eccentricity of her designs, Dixon said the atmosphere at the show was palpable, with guests dancing and cheering as models paced the runway. “A member of the British Fashion Council who attended the show even said they hadn’t been to a show like it,” she recalled.

“It was a real challenge for me and it was a point in my career where I've been able to actually say that I'm proud of myself too, for where I'm getting to,” Dixon added. “I wanted the show to be different and I wanted it to be something where people would sit there afterwards and say, ‘I've never seen anything like this.’ And that's what I delivered.”

The backing from High Life North and the additional presence of small businesses only underlined a mission to shine a light on the North East’s offerings, meaning everyone got something out of it. “I think it was really good for the city,” Dixon said.

It isn’t easy building a clothing brand in the present day. Small business owners, including Dixon, need to wear many hats, whether that be sourcing materials to promoting via social media. While Dixon said she would much rather remain anonymous, consumers are increasingly interested in the real faces behind the brands they engage with, and one day she hopes she can grow her team and relinquish digital responsibility.

Putting Newcastle on the fashion map

The challenge is intensified for those based in the North of the UK, where access to the creative hubbub of London is typically limited, meaning connections and opportunities can be hard to come by. The British Fashion Council (BFC) has recently implemented efforts to decentralise the UK’s fashion industry with Fashion Britain, a new initiative integrated into the most recent London Fashion Week schedule that saw related events brought to other cities across the country – Newcastle being one of them.

Building up the city’s fashion influence is also something close to Dixon’s heart. “From an early stage of the brand, I’ve said that I wanted to put Newcastle on the map and I didn’t think everyone should have to be in London for fashion,” she said. “A lot of my clients are still in London and I feel like I can lose out on work when it’s a quick turnaround. It can be really heartbreaking that you’ve lost out on not being there.”

Dixon does see the benefit of accepting any job opportunity that comes at the beginning of a career, and even understands when creatives have to maintain another job next to their emerging business, like she does. Her vision for Newcastle would be the establishment of a North Eastern fashion house, potentially for her own label, if funding allowed it.

“I would make sure it was fully sustainable, that you saw the workers working,” Dixon said. “With a lot of fast fashion, you don’t see what’s going on, whereas I’m an open book. When you’re buying from an upcycled small business, it’s been made with two hands. It’s being made with love, and you know the person well.”

Fenwick York and beyond

A fashion house is for now a distant goal, as Dixon is focused on the present: catering to the more immediate requests of stylists, awaiting the screening of a documentary on her fashion show, and following through on a new partnership with York Football Club, which is donating shirts for an upcycled collection to be made available in Fenwick York.

“Honestly, leading up to the catwalk, I don’t even think if someone pinched me, I would be able to feel what was going on. It was almost disbelief, there was so much going on that you don’t have time to think about it until afterwards. I've worked and grafted so hard that things just come up and I take the job. There was never a set plan because I never thought it was going to be a business,” Dixon explained.

It’s an expression of disbelief that so many emerging names make when the rollercoaster starts moving, and there is no time to get off. For Dixon, what began as an act of creativity during an uncertain period has evolved into a growing business with a temporary presence in two Fenwick stores, an expanding network of collaborators and a platform for putting Newcastle’s fashion talent in the spotlight.

There may still be no set plan for Somebody Else’s Guy, but that unpredictability appears to be part of what has kept Dixon moving forward. As opportunities continue to arrive, she is taking them as they come, with the same instinct that shaped the brand from the beginning.

German fashion label Armedangels has developed a bouclé yarn without polyester or other synthetic fibres. Following its debut in 2025, the Cologne-based brand is now using the yarn for more styles from its autumn/winter 2026 collection, 'For the Cozy and Curious'. According to the company, the material became a bestseller in its first season.

Wool and lyocell instead of polyester

Bouclé is a typical knit quality for the winter season. Its characteristic loops, volume and fluffy surface are traditionally achieved using synthetic fibres such as polyester.

Instead, Armedangels combines wool from RWS-certified farms with Tencel Lyocell from the Austrian fibre producer Lenzing, a cellulose fibre derived from certified or controlled wood sources. The yarn was developed by creative director Christiane Bördner and Julia Kirschner, director of impact & innovation. It aims to provide the combination of volume, softness and warmth characteristic of bouclé, without using petroleum-based fibres.

"In 2025, fossil-based fibres accounted for less than three percent of our material mix. The final few percentage points are the most challenging, as this is where synthetic fibres have long been considered indispensable. Bouclé was one such application. Not anymore," said Kirschner.

Armedangels already uses Tencel Lyocell in other product categories, including outerwear and underwear. With the new bouclé yarn, the wood-based fibre is now also being used for a demanding knit quality.

Familiar winter materials

The FW26 collection builds on this material development, complementing it with other winter materials such as recycled wool, tweed, fleece and corduroy. Various textures and constructions are combined with relaxed, contemporary silhouettes.

Key pieces include a merino mouliné patchwork knit; alpaca wool jumpers; cable-knit jumpers and cardigans; and bouclé knitwear. The collection also includes items made from fleece, tweed and corduroy.

The brand cites details that are only noticeable upon closer inspection as its source of inspiration, such as the structure of tree bark, unexpected textures and the distinctiveness of everyday objects. According to Armedangels, the core of the collection revolves around reimagining familiar winter materials and questioning whether synthetic fibres are necessary for wearable knitwear.

The knitwear collection has been available via the Armedangels online store and in the brand's own stores since October 8, 2026.

Amsterdam-based fashion house Karl Lagerfeld has introduced its eyewear collection for fall/winter 2026, produced under licence by US eyewear manufacturer Marchon Eyewear. The frames feature in the brand's current campaign, 'From Paris With Love', which stars Paris Hilton alongside NOT-KARL, a new digital character from the Karl Lagerfeld universe.

The collection includes sunglasses and optical frames for women and men. According to the brand, it reworks the house's graphic codes through clean silhouettes and sculptural details, with the K/Autograph emblem and the elongated Karl Lagerfeld logo used as recurring signatures.

The frames are made from acetate and bio-injected material. Shapes include cat-eye, square and round pantos frames, in a palette that runs from black and tortoiseshell to softer shades of lilac, sage green, blue and mustard.

For women, the line-up includes an acetate cat-eye sunglass with a metal K/Autograph detail on both temples and gradient lenses, as well as a square acetate optical frame. For men, it offers a lightweight square sunglass in bio-injected material and an acetate pantos optical frame, both carrying the elongated logo on the temples.

Each of the four styles comes in four colourways.

Japanese sportswear company ASICS has teamed up with French running retailer Distance on a capsule collection inspired by Iten, the town in Kenya known for its running community. The ASICS x Distance collection is the first collaboration between the two companies and launches on October 10, 2026.

The capsule comprises 16 apparel pieces for men and women, ranging from technical running kits to lifestyle tops and hoodies. Most of the performance styles are reworked versions of pieces from ASICS' premium Metarun range. The collection is completed by the new Novablast 6 running shoe, which carries the collaboration's colour palette from apparel through to footwear.

Colours of Iten

The design draws on the red earth and sky of Iten, as well as the painted facades and textures of local houses, including the Distance store in the town. According to the companies, the brightly coordinated kits and unexpected colour combinations reflect the individual way runners in Iten style their training apparel. The pieces can be worn as complete kits or combined freely, from training sessions to the moments before and after.

"Running in Iten is inseparable from the place itself, from the red earth and the brightness of the sun to the shared rituals that surround every session," said Alistair Keys, head of design at ASICS. Keys added that the collection ties in with the company's purpose of helping more people experience the uplifting impact of movement on the mind, "from world-class athletes to first-time runners."

A personal connection

For Distance co-founder Guillaume Pontier, the project stems from a long personal link to athletics and to Kenya. His father, Jean-François Pontier, spent decades coaching some of France's leading middle and long distance athletes, and visits to Iten with him introduced Pontier to the town and its running community.

Those relationships later led Distance to open a permanent store in Iten in 2022, set up to make quality running products more accessible to local athletes. Run with local knowledge, the store has since become a meeting point for the community.

"Iten is much more than an inspiration board for us," said Pontier. "It is a place built on relationships, generosity and a deep, everyday commitment to running." He described the collection as a way of honouring the details that stayed with the team, from the sunrise runs and the red earth to the colours of the houses and the warmth of the community, and dedicated it to the company's friends in Iten.

The ASICS x Distance collection, including the Novablast 6, will be available from October 10, 2026 at Distance stores worldwide, through ASICS' own online store and at selected retail partners.

Madrid – The Spanish company Recover, backed by Goldman Sachs, is a global leader in the industrial production of recycled cotton and other circular material solutions for the textile and fashion industries. The company is now diversifying and expanding its product offering with the launch of “Recover One”. This is a new collection of fibres made entirely from recycled materials. As a key innovation, they are presented as ready-to-use, without the need for the previously required traditional dyeing processes.

UK-based retailer Tesco PLC (Tesco) has delivered its interim financial results for the 26 weeks ended August 29, 2026, recording growth in overall group sales and operating profit alongside steady momentum across its non-food and digital platforms.

Bath Spa University’s Future Fashion Works and A Single Thread CIC have launched a four-year sustainable fashion programme backed by The National Lottery Community Fund’s Climate Action Fund, aiming to reach more than 250,000 people across the UK.

Dubbed Restitch the Future, the programme will develop a network of community-led high street hubs designed to make sustainable fashion more accessible, while creating a playbook for communities looking to establish their own local initiatives.

The programme follows the latest edition of Sustainable Fashion Week (SFW), which ran from September 26 to October 4 and brought together more than 347 grassroots activities across 41 regional hubs. Organised by A Single Thread, the 2026 edition focused on ‘Threads of Resistance’, encouraging communities to challenge overconsumption through repairing, rewearing and repurposing clothing.

Restitch the Future will build on that existing network, with activities including clothing swaps, repair workshops, upcycling, youth programmes, campaigns and skills-sharing opportunities. It will operate 32 community hubs annually and establish a further five to eight hubs in underrepresented areas, including Scotland, Wales and Northern Ireland.

The programme will also use SOMER, Bath’s community-based sustainable learning environment, to test approaches including year-round clothing swaps, repair cafés and upcycling workshops that can subsequently be shared across the wider network.

Alongside the community activity, Bath Spa University will lead research into the barriers preventing people from engaging with sustainable fashion, including affordability, access, representation and skills. The research will examine what drives lasting changes in fashion consumption and how climate-conscious choices can become more inclusive and accessible.

The programme is intended to extend the type of community activity demonstrated through SFW beyond an annual event and into year-round local infrastructure.

Amelia Twine, founder of A Single Thread CIC, said sustainable fashion is “too often” perceived as “expensive, exclusive or unrealistic”, adding that Restitch the Future would make it easier for people to “repair, reuse and rethink clothing” as part of everyday life.

Tamara Parsons-Baker, head of Future Fashion Works at Bath Spa University, said the project demonstrates “the power of collaboration between universities, communities and grassroots organisations” to tackle climate change.

The Dutch luxury footwear brand has announced its participation in Paris Fashion Week 2027 through Flying Solo, an internationally recognised fashion platform that showcases independent designers and emerging luxury brands on a global stage.

During Flying Solo's Paris Fashion Week showcase on 5 March 2027 at Hotel Le Marois (9-11 Avenue Franklin Delano Roosevelt, Paris), the brand will present its latest collection of bridal and evening wear footwear.

This participation marks a significant milestone in BENYAMIN APOO's international growth strategy, reflecting the brand's ambition to strengthen its presence in the global luxury fashion industry. Founded in the Netherlands, BENYAMIN APOO has established a distinctive position in the bridal and occasion footwear market thanks to its commitment to refined craftsmanship, sophisticated design, and timeless elegance.

The upcoming presentation in Paris will introduce the brand's newest designs to an international audience of buyers, fashion media, stylists, influencers, and industry professionals. The collection reflects the brand's signature aesthetic, combining contemporary glamour with feminine silhouettes, premium materials, and meticulous attention to detail.

"Participating in Paris Fashion Week is a significant milestone for BENYAMIN APOO. As a Dutch luxury footwear brand, we are proud to present our vision of contemporary bridal and evening wear footwear on an international stage," says founder Apoo.

Beyond presenting the collection, BENYAMIN APOO also sees its participation in Paris Fashion Week as an opportunity to expand its international partnerships and strengthen its presence in Europe, North America and the Middle East.

Further details regarding the collection, showroom appointments and media opportunities will be announced ahead of Paris Fashion Week 2027.

UK retail footfall fell 4.2 percent month-on-month in September as the summer period ended, but remained 1.3 percent higher year-on-year, marking the strongest annual growth since 2023, according to MRI Software.

Japanese retail giant Fast Retailing Co., Ltd. (Fast Retailing) has announced financial results for the 2026 fiscal year ending August 31, 2026, marking its fifth consecutive year of record performance. Group revenue rose 16.6 ercent year-over-year to 3.96 trillion yen (25.03 billion dollars), driven by strong international expansion and steady momentum at Uniqlo. Operating profit for the full year climbed 31.7 percent to 743.1 billion yen, while profit attributable to owners of the parent company increased 25.3 percent to 542.5 billion yen.

US fashion group Levi Strauss & Co. (Levi Strauss) has reported net revenues of 1.6 billion dollars for the third quarter ended August 30, 2026, representing an increase of 4 percent on a reported basis and 5 percent on an organic basis compared to the same period in 2025.

Madrid – It has been exactly one week since the launch on October 1 of the first collection designed by John Galliano for Zara. The collection was set to be a turning point in the commercial dynamics of the Inditex group's main fashion chain. However, it has been met with a very cold reception from the markets. This is despite the latest analysis of the company issued by the US investment bank Jefferies.

Canadian technical athletic apparel brand Lululemon has announced a new senior leadership team structure designed to strengthen its competitive position and drive future growth.

Japan and US-based asset management firm Nexroc Group (Nexroc), alongside its entertainment and fashion holding company SVCV, Inc. (SVCV), is preparing to launch tender offers targeting American and Japanese fashion and luxury groups.

Hearst UK-owned publication Harper’s Bazaar UK has entered a brand licensing partnership with British fashion brand Karen Millen to launch a capsule womenswear collection titled Beyond the Season.

Interview

In the midst of the pandemic, Sophie Cabourn was confronted with an issue; her personal vintage archive was outgrowing her surroundings. After returning to Newcastle following a period in London, and like many during lockdown, she turned to resale as a solution. For Cabourn, however, her pieces, many high luxury and rare, required a more specialised platform that allowed to bring her fervour for handpicked vintage to a distinct audience.

It was around this time that she met Thomas Smith, her now partner, who suggested trying a vintage and vinyl market in North Shields. The ensuing influx in demand pushed Cabourn to continue selling, even when the market shuttered. Five years later, Cabourn is now the owner of a permanent store. Her company, Re:Bourn, has officially set up a base in Newcastle’s cultural and creative hub, Ouseburn.

The store itself stands apart from the city’s typical retail network. Located in Foundry Lane Industrial Estate, it sits within a steel frame construction, a setting that is fitting for the more rugged identity of a Northern born-and-bred vintage retailer. The interior has a spattering of exposed pipes, raw materials, DIY elements and vintage furnishings, and yet remains warm and inviting.

A hidden door takes customers into a secret room, low-lit and painted pink, with a vintage TV in the corner showing clips of runway shows by Cabourn’s father, the late designer Nigel Cabourn. A selection of womenswear clothing lines the walls, an expansion on the prior menswear and outerwear focus Re:Bourn had once had, evidence of Cabourn pivoting to make the categories equal. The backend of the shop faces out on the river, where benches encourage passers by to sit and enjoy the view.

Nurturing community in a permanent space

The homey atmosphere is intentional. When developing the idea for the store, Cabourn had noted a lack of independents in the city, while larger retailers were missing a much-need personal touch. “I think people feel so neglected by the retail world,” she tells FashionUnited. “You don’t get the human interaction, you don’t get the care from people. It’s more than just clothing; it’s a bit of a community that we’re trying to build.”

After hosting a series of pop-ups around the country, Cabourn felt it was necessary to establish a more permanent setting in order to nurture the community Re:Bourn had subsequently gained. The support that came from those surrounding Cabourn in Newcastle, a city often known for its friendly residents, reaffirmed that decision. “It’s very nurturing,” she says. “It allowed me to make a lot of mistakes with not many repercussions, because a lot of people opened their hearts and businesses.”

The response suggests a hunger to support locally grown names in the North East, a region creative talent often departs to follow the promise of more opportunities in the South. Cabourn says this was evident when she was trying to build a team around the brand, but those now employed are passionate about the message Re:Bourn is sending.

The resulting environment is one that reflects what Cabourn learned from her dad, Nigel, who was known for utility-driven, vintage military-inspired collections. “He could have made a lot more money, but he chose to do things right, pay people right, do the right deals,” she states. “I remember that from him, ever since I was a little girl: always treat people right in life, not just in business. And I want to carry that with me.”

This extends into the consumer environment. Despite having an overall positive reception from people in Newcastle, Cabourn recognises that Re:Bourn may not be for everyone. Price is a bone of contention. When rare products such as pieces from Karl Lagerfeld’s first runway for Chanel are sitting on the shelf, the price tag may be eyewatering for those that aren’t aware of their value. Cabourn says she tries not to take criticism personally, and understands that she can’t please everyone.

She hopes, however, that Re:Bourn’s store will appeal across demographics, from parent to child, with some products in the physical space, including T-shirts and sunglasses, remaining price-friendly. In a bid to challenge misconceptions about the value of vintage, Cabourn also urges customers to ask about the prices if they have concerns. “It has been well received by the right people,” she notes. “The people that don’t get it, I wish they’d talk to me more, because there’s a reason for the prices.”

Communication-wise, sustainability is no longer an imperative discussion point, aligning with a broader change of tide in how consumers are responding to the category. “People, in a good way, are more willing to buy vintage and circular, but at the same time, they’re also aware that a lot of companies are greenwashing,” she says. “It goes without saying that we’re sustainable, and I don’t want to add to the problem because it’s still buying clothes at the end of the day.”

Considered curation to remain at the core

This also goes for the online site, which remains operational alongside the new store. Here, consumers have amassed from beyond the UK, with Japan and the US serving as the largest markets. Cabourn also makes sure to retain the personal touch by delivering packages herself if someone has ordered locally. Men make up the majority of online orders, with Cabourn suggesting that women could dominate the physical space, largely due to their more considered, hands-on approach to shopping. As a result, women also tend to be the largest purchasers of high-end designer goods, she notes.

Cabourn insists that she doesn’t curate based on trends or sales, and instead makes selections based on what the team is drawn to. Customers then tend to adapt to what Re:Bourn brings them, whether that be well-known staples like Stone Island sweaters or the more obscure items, like coats by Japan’s Norbit, a best seller at the retailer. What this will look like in a physical space, however, is yet to be determined.

Pop-ups remain imperative to Re:Bourn’s strategy, with one taking place in Manchester later this month. However, while this temporary setup is notably different from a firm base, Cabourn’s approach to curation intends to remain intact. Each item that passes through the door is considered and handpicked, a process she admits is a lot more work than bundle buying, but means that quality is maintained across the board.

“We work with a lot of independent sellers and we buy whole collections from people,” Cabourn explains. As a result, the business has not been noticeably impacted by the rise of peer-to-peer resale platforms like Vinted, nor by the increasing popularity of more expansive vintage retailers.

It once again reaffirms that personal approach to business Cabourn holds at the root of Re:Bourn, which will run into how she will operate the permanent space. “We’ve met so many amazing people through doing this, so many lifelong friends,” she says. “I want a space where they can come and hang out. It’s more than just selling clothes. I want to continue collaborating with people, with DJs, with musicians, with artists. It’s a space to bring everyone together.”

Gap is launching a limited-edition collection with the Estate of Roy Lichtenstein and the Whitney Museum of American Art, timed to the opening week of the New York museum's exhibition “Roy Lichtenstein: Like New.” The collaboration is an opportunity to “bring together art, culture and self-expression in a way that felt authentic to Gap,” the brand’s CEO Mark Breitbard told FashionUnited.

“The Fisher family [founders of Gap Inc.] has a longstanding connection to the art world, and that appreciation for creativity has always been part of our brand story and DNA. Roy Lichtenstein's work felt like a natural fit because he had a unique ability to take something familiar and make people see it in a new way. Bringing his artwork to Gap icons that people have been making their own for generations felt like a compelling way to celebrate that legacy,” Breitbard said.

The 18-piece collection applies the pop artist's visual language to Gap staples including hoodies, sweatshirts, button-down shirts, T-shirts and accessories.

Breitbard said Gap started developing the collection with its signature styles because they're the pieces that have "the deepest connection to our customers and to the brand."

“Lichtenstein's artwork is so bold and recognizable that we wanted to give it room to shine on silhouettes that people already know and love. The goal was to keep it simple and let the artwork do the talking, creating pieces that feel wearable, approachable and unmistakably Gap while giving people a new way to experience his work,” he said.

Jack Sachs, director of retail and licensing at the Whitney Museum of American Art, told FashionUnited that the partnership is a way of exposing the artwork of Lichtenstein to a broader audience through Gap’s global reach.

“I’m passionate about using retail to bring conversations from our galleries to outside the museum walls,” Sachs said. “Lichtenstein will be exposed to millions who may not have the privilege of living close enough to visit major arts institutions.”

Lichtenstein, who was born in New York City in 1923 and died in 1997, was a founder of American Pop Art. He produced more than 5,000 paintings, sculptures, drawings, prints and objects, initially drawing on commercial advertising and comic strips before turning to landscapes, still lifes, figures and art history.

The exhibition, curated by Meg Onli and Alex Da Corte, brings together more than 130 works spanning six decades. According to the partners, it focuses on Lichtenstein's engagement with mass media, the circulation and duplication of images, and popular culture.

“The show brings you inside Lichtenstein’s practice and its essential connection to popular culture and the process of reproduction. We developed this collection with that close to mind and the result, I feel, is something as rich with historical legacy as it is with a contemporary provocation: what does Roy’s work mean to consumer culture today? In the best way- so much of this felt like a school group project, and the Estate and Gap were the best study buddies we could have asked for,” Sachs said.

The collaboration between Gap, the Estate of Roy Lichtenstein and the Whitney Museum of American Art goes on sale on Wednesday at select Gap stores, on gap.com, on whitney.org and at the Whitney's in-museum store.

After a season full of designer musical chairs, the spring/summer 2027 edition of Paris Fashion Week is less about introducing new names and more about developing a unique design vision. Jonathan Anderson at Dior and Matthieu Blazy at Chanel continue to build on their vision for the French fashion houses, while young designers like Julie Kegels and Marie Adam-Leenaerdt are increasingly establishing their own codes.

This results in a fashion week where innovation is not always found in a completely new visual language. Sometimes, it arises from treating an existing garment differently, literally implementing a design principle, or further developing familiar codes.

New names build their own vocabulary

A clear example is Julie Kegels, from the eponymous label founded in 2024, who opened Paris Fashion Week with her spring/summer 2027 collection ‘Apple of the Day’. The Belgian designer started from an everyday habit: eating a Jonagold apple every day. From the well-known anecdote about Isaac Newton and the falling apple, she arrived at the principle of gravity.

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This scientific starting point was directly translated into the silhouette. Dresses seem to slide down from the shoulders, skirts drop towards the hips, and trousers feature extremely low crotches. In some garments, Kegels even incorporated small weights, so the fabrics literally fall as low as possible around the body.

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The collection also came at a significant moment for the designer. Kegels won last month's LVMH Prize for Young Fashion Designers 2026, which includes 400,000 euros and a year of coaching from LVMH experts.

Marie Adam-Leenaerdt is also continuing to develop an increasingly recognisable vocabulary. The Belgian designer won this year's Grand Prize at the ANDAM Fashion Awards, worth 300,000 euros, and based her SS27 collection on what she says she has learned in her previous seven seasons. The collection also introduces menswear pieces for the first time.

While Kegels uses a scientific principle as a starting point, Adam-Leenaerdt plays with the distortion of everyday clothing. Her show was set up as a surrealist supermarket, while the clothes themselves balanced between practical and overly chic. According to the designer, a collection for a trip to the supermarket, market, or football match was deliberately made ‘too chic’.

Padded jackets and cardigan coats referenced daily wear but were combined with sculptural forms. Dresses featured small hoops at the hips, making the silhouette protrude; mini skirts seemed to float around the waist; and oversized, crumpled taffeta was used for tailoring. The surrealist elements are more subtle than in previous collections but remain a key part of her signature.

Everyday wardrobe gets a new meaning

Re-examining everyday clothing is not only visible among young designers. Miu Miu also starts its SS27 collection from a recognisable wardrobe, but combines it with elements of sportswear and eveningwear. Miuccia Prada juxtaposes sportswear with tailoring and eveningwear. Tracksuit bottoms are paired with blazers and blouses; sports tops are given embellished details; and cocktail dresses are worn with trainers. Micro shorts, cropped sports jumpers, rugby shirts, and bralettes also become part of the wardrobe.

According to Prada, the aim is to make everyday clothing more interesting and richer by blending sport and sophistication. This approach does not replace a familiar wardrobe but restyles it and gives it a different feel. The use of materials also plays a role in this. Crinkled and waxed suede is combined with jewel-like details on satin and mesh, while denim, in collaboration with Wrangler, is given a more worn-in look.

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Miu Miu's commercial position aligns with the brand's strong development in the recent period. Retail sales increased by 2.5 percent year-over-year in the first half of the year. In the second quarter, growth was 2.6 percent, comparable to the first quarter. This growth was achieved despite greater exposure to the Middle East and a high basis for comparison: in the second quarter of 2025, retail sales there grew by 40 percent.

At Celine, the everyday wardrobe is also central. Michael Rider seeks out clothing that looks as if it has been combined spontaneously and effortlessly. His silhouettes move between dressed-up and casual, for example, by pairing a worn trainer with a sophisticated look, a graphic T-shirt under a satin suit, or a velvet blazer with a plain black top.

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Matthieu Blazy broadens image of ‘Chanel woman’

At Chanel, innovation lies not only in new clothing codes but also in the question of who can relate to the fashion house. Matthieu Blazy said that since his appointment, he, along with the team and atelier, has been trying to broaden the idea of the Chanel woman: not one type of woman, but various women who fit within the world of the house. This is also visible in the SS27 collection, where his signature boxy silhouettes are alternated with more fitted shapes, such as semi-transparent knits and a pearl-embroidered corset top.

The casting also shows how Blazy is broadening Chanel's image. Bhavitha Mandava, the French fashion house's first Indian House Ambassador since March, wore look 10, a sculptural black dress with large floral appliqués. In December 2025, she became the first Indian model to open a Chanel show, the Métiers d’Art 2025/26 collection, after which she closed the spring/summer 2026 haute couture collection as the bride in January 2026.

Additionally, 22-year-old Nigerian Rachael Ojuromi made her Chanel debut. She and stylist Debby Fasingha created their own interpretation of Chanel’s Métiers d’Art collection in Lagos using second-hand clothing. The images went viral and caught Blazy's attention, after which Ojuromi walked her first Chanel show in Paris.

The innovation also seems to be commercially successful. Chanel reportedly achieved a comparable sales growth of 16 percent in the first half of 2026, according to figures reported by Bloomberg and picked up by Reuters. The figure was not published by Chanel itself but coincides with the first collections by Matthieu Blazy, which were available in stores from March. New bag models in particular are said to have attracted a lot of interest.

At Dior, innovation is less radical

At Dior, it is particularly evident how a new design vision develops gradually. Jonathan Anderson presents his third womenswear collection for the French fashion house, following his debut last year.

For SS27, Dior returns to Le Bassin Octagonal in the Jardin des Tuileries, the same location where Anderson presented his FW26 collection for the house. The collection also features recognisable elements that align with FW26. The innovation, therefore, lies less in a completely new visual language and more in the further development and shifting of existing ideas.

Dior's invitation for SS27 consisted of two walnuts, a reference to the Chinese tradition of wénwán, where tactile objects develop a characteristic patina over time through touch and use. The choice aligns with the theme of asymmetry and the imperfection of nature. This also seeks ways beyond the clothing to link ideas about time, touch, and natural forms to the collection.

Saint Laurent opts for maximum glamour

While Dior mainly builds on its foundations, Saint Laurent opts for a much more pronounced form of spectacle. Anthony Vaccarello presented the SS27 collection under the Eiffel Tower, with gold as the central theme.

The colour, which Yves Saint Laurent himself described as a magical colour and the colour of the sun, was used to reinterpret the fashion house's familiar codes.

Sahariennes, trench coats, and sharp tailoring were given a monochrome, metallic look. Vaccarello worked with materials ranging from organza to gold-foil-covered latex. Accessories were also included in the theme, featuring filigree details and shoes with snake-shaped heels. The show concluded with black velvet tailoring, breaking the all-gold image.

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Alaïa without Pieter Mulier: a modest first step

For the first time since Pieter Mulier's departure, Alaïa presented a new collection from its own studio. Mulier said goodbye in March with his final collection and has been the creative director of Versace since July 1, where his debut collection is expected early next year. A successor has not yet been announced: the house, owned by Richemont, is taking its time and is currently relying on its atelier and internal design team. The house returned to the old Fondation Cartier building on Boulevard Raspail, where Mulier also took his leave.

Alaïa’s SS27 collection primarily shows how the house continues to sound like itself without a permanent designer. The studio opted for recognisable items: sleek black jackets with small, closely spaced buttons; leather skirts with pleats spiralling downwards; and new versions of the knitted dresses in cheerful colours like butter yellow. A burgundy leather jacket also featured a soft, built-in corset look around the waist.

This is a softer and more colourful approach than Mulier's final collection in March, which was stark, monochrome, and almost without accessories. While Mulier sought precision and repetition, the studio now opts for the familiar Alaïa repertoire with a lighter touch.

This creative continuity contrasts with a less stable financial situation. FashionUnited reported earlier this year, based on reporting from Glitz, that Alaïa's growth remains unprofitable despite improved commercial dynamics. The house thus remains structurally dependent on financial support from Richemont.

Hermès refines its own house codes

Hermès also stays close to its own codes, but for SS27 gives them a lighter and more technical feel. The zip is the recurring element in Nadège Vanhée's collection and is used to adjust the length of skirts, run across leather blousons, or feature along flared trousers. Ultra-small belts function not only as accessories but also become part of the garments themselves. The collection thus plays with movement, airiness, and changing silhouettes, while materials like silk, leather, and mesh maintain the house's luxurious appeal.

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The collection also comes at a time when Hermès is facing a more challenging luxury market. The company saw its revenue grow by 6.1 percent at constant exchange rates in the first half of 2026, but demand in China remains under pressure. Revenue from ready-to-wear and accessories fell by 2.5 percent in the same period. In January, Vanhée will present her first haute couture collection, while Grace Wales Bonner is the new artistic director of menswear from this season.

Louis Vuitton seeks new balance in proportions

At Louis Vuitton, Nicolas Ghesquière shifts the focus from the silhouette to a lighter way of playing with proportions. While for FW26 he showcased pronounced shoulders and architectural silhouettes, for SS27 the body is more often shaped around the waist. Ruffles, button details, and belt elements accentuate the mid-section, while the rest of the silhouettes remain looser and more fluid.

This change aligns with the broader direction of the collection. Ghesquière, who describes himself as a specialist in ‘armour’, deliberately chooses lightness and simplicity this season. Familiar garments such as dresses, cardigans, and blousons are crafted from thin, fluid, or almost paper-like materials.

Elle International has partnered with Spain's to deliver a suite of accredited higher education programs in luxury brand management, fashion marketing, and visual merchandising. Offered in academic collaboration with Camilo José Cela University (UCJC) in Madrid, the initiative grants European-accredited qualifications, including MBA degrees, master's programs, and specialized certificates. The academic framework is structured to bridge foundational business theory with real-time industry operations across both digital and physical retail sectors.

The curriculum spans operational disciplines including luxury brand administration, fashion marketing strategy, digital communication, interior design, and styling. Instruction is delivered through a dual-track model, combining remote digital coursework with hybrid immersion tracks based at UCJC's Madrid campus. Through its university validation, the program offers standardized European Credit Transfer and Accumulation System (ECTS) metrics, allowing students to integrate technical and management training into recognized academic qualifications.

The venture highlights a broader trend of media conglomerates leveraging editorial brand equity to enter the higher education market. By formalizing academic oversight through accredited university partners, media-backed education platforms aim to address institutional skill gaps in luxury management, e-commerce, and digital communication, providing alternative talent pipelines for global fashion and lifestyle sectors.

Four international category winners have been selected for the 2026 Real Leather. Stay Different. International Student Design Competition, an annual global initiative sponsored by the Leather and Hide Council of America in partnership with Arts Thread. Representing institutions across Israel, the United States, Germany, and Vietnam, the finalists were chosen for design concepts that repurpose leather industry offcuts to challenge disposable fast-fashion models. The winners will compete for the overall title on October 29 at the Jim Thompson House in Bangkok alongside Thailand's national winner.

The selected projects prioritize zero-waste methodologies and local material traditions within footwear, apparel, and accessory design. Israel's Tal Zohar of Shenkar College won the apparel category with a leather-quilted jacket inspired by 1970s sportswear, while SAIC's Siang-Ying Lu secured the accessory award for a single-piece folded leather bag created entirely without structural cuts.

Germany’s Roscha Dinler won the footwear division by constructing shoes directly on lasts using scrap leather joined through techniques inspired by Japanese ceramic repair. Tran Trong Nghi Nguyen of Vietnam's Ton Duc Thang University received the People's Choice award, while host-nation winner Kittidech Chankraithong incorporated traditional Thai royal gilding into a collection exploring local transit culture.

The competition highlights a growing emphasis within global design curricula on material circularity, waste reduction, and traditional craftsmanship. By requiring students to work with industrial by-products rather than virgin textiles, such initiatives provide emerging designers with practical experience in sustainable supply chain integration and alternative material lifecycle management. For higher education institutions, these international platforms benchmark student technical skills against global industry standards while connecting academic research directly to international manufacturing and trade associations.

We conclude our review of the latest edition of Paris Fashion Week, focusing on the collection presented by Spanish fashion label Paloma Wool. The brand has become a regular fixture on the Parisian catwalk, having made its official calendar debut in October 2023.

As scheduled, Paloma Wool has remained a constant name since its debut three years ago. The fashion label by designer Paloma Lanna returned to the French capital this October to present its spring/summer 2027 collection as part of the official Paris Fashion Week calendar. This marks the seventh collection it has presented under the Paris Fashion Week umbrella since its debut in October 2023, always participating in the official calendar's 'presentations' section. However, Paloma Wool has consistently challenged this label. The brand opts to present each new collection with a runway show, albeit one with a more intimate and relaxed atmosphere than those held by fashion houses in the 'runway show' category.

Setting aside these matters of etiquette and organisation, which are never insignificant at a Fashion Week, especially Paris Fashion Week, Paloma Wool presented its collection on Sunday, October 4. The show took place in the halls of the Maison de la Chimie. This conference and event centre is housed in a historic 18th-century “hôtel particulier” in the heart of Paris, just a few steps from Les Invalides, the Pont Alexandre III and the Grand Palais. The atmosphere was perfectly aligned with the feel of the brand's collection, which was revealed as a particularly erotic, sensual and elevated proposal. It featured both direct and veiled references to the single “Margot Tenenbaum” by the Berlin-based Canadian singer-songwriter, Brat Star.

Opulence and erotic decadence, amidst linings and ochres

Analysing the collection in greater depth, the proposal unfolded a symphony of colour dominated by ochre and golden sand tones in the salons of the “hôtel particulier”. These chromatic accents gave the collection an aura of refinement and baroque exuberance, reminiscent of the monumental Paris of grand palaces and lavish parties. Throughout the collection, these tones were combined with off-whites; blacks; dusty pinks; moss and olive greens; lilacs; and turquoise blues and greens. These particularly intimate tones emphasise the rich, sumptuous foundation of the collection, while also speaking to the erotic and decadent sensuality the pieces evoke.

Giving shape to these impulses and building on this carefully curated colour palette, the collection presents a series of silhouettes that are both bold and elegant, vintage and modern, restrained and free. The designer constructs a play of opposites with the traditional lining of womenswear as the main feature. It is not simply left visible but is raised and shortened to form tops; lowered and adorned with ruffles to create the hems of deconstructed skirts held by thin straps; or even given the full dimension and weight of a skirt or an evening gown.

As a result, the collection's key pieces include long and short, 1920s-inspired straight dresses, alongside tailored trousers; leather ruffled skirts; short bolero-style jackets; and tops, skirts, dresses and bodices made entirely or partly from semi-transparent 'lining' fabrics. This material is a key element, alongside golden jacquard and check-printed silk, which are used to create another series of pieces. This repetition helps to unify the stylistic narrative, elevating it through the visual and textural richness of both fabrics. This elevation is further enhanced by patterns and inspirations from 1920s 'flapper' fashion. Other key garments include the sack dress that opened the show, and leggings and a transparent black bodice with feather-effect embellishments. The looks were completed with a collection of accessories, notably court shoes with almost fully exposed toes and bags decorated with lyrics from the Brat Star song “Margot Tenenbaum”.

Puma has a new largest shareholder. The Herzogenaurach-based sportswear company announced on Wednesday that Anta Sports Products Limited has successfully completed the acquisition of the 29.06 percent stake previously held by French investment holding company Artémis SAS.

Éric Vallat has been removed from his position as chief executive officer of the French brand Lacoste. The corporate website now lists Thierry Guibert as CEO.

Reuters reported that Éric Vallat was ousted just before the brand's Paris show. The announcement came as a surprise due to its sudden nature. Lacoste confirmed this leadership change to Reuters but did not provide a reason.

Éric Vallat was appointed chief executive officer in June 2025, with the mission to support Lacoste's premiumisation strategy. This involved elevating the brand's market position and reducing its low-margin wholesale business. His prior experience at LVMH, Richemont, and Rémy Cointreau was intended to serve this ambition.

Upmarket strategy maintained

Thierry Guibert is resuming overall management of Lacoste. He had previously led the brand for ten years before the arrival of Vallat. He is also the chief executive officer of Maus Frères, the Swiss group that owns Lacoste.

According to Reuters, Vallat's departure is not linked to Lacoste's performance. His sudden removal, given that results are not in question, suggests internal disputes between the executive and the primary shareholder.

The privately held brand still targets an annual turnover of four billion euros by 2028-2030. Despite this departure, Lacoste affirms it will continue with its strategic roadmap, supported by strong fundamentals.

The Amsterdam-based innovation platform Fashion for Good has launched the Cotton Reloop Matrix Project, a study into the possibilities and limitations of mechanically recycled cotton. Together with partners such as Bestseller, C&A and Reformation, Fashion for Good aims to bridge the gap between the quality requirements of fashion brands and the capabilities of recyclers. The organisation announced this in a press release.

Nike, Patagonia, Under Armour, Lululemon, Cotopaxi and REI Co-op are among the founding members of a new industry initiative focused on reducing microfibre pollution across the apparel supply chain.

Ian Maclean has been appointed chairman of the Campaign for Wool, succeeding the late Peter Ackroyd, who died unexpectedly in July 2026 after serving as chairman since January 2025.

Maclean’s appointment was unanimously backed by the organisation's Funders’ Board. He brings extensive experience across UK manufacturing, fashion and textiles to the organisation, as well as global wool supply chains.

He currently chairs family-owned knitwear company John Smedley Ltd, which holds two Royal Warrants, and has previously served on the board of UKFT for 12 years, chaired the Textile Committee for The Clothworkers’ Company and was chair of The Queen Elizabeth Scholarship Trust from 2022 to 2025. He was awarded an MBE in 2020 for his company’s response to the Covid-19 pandemic and services to the UK textile industry.

Maclean takes up the role during Wool Month, the campaign’s annual October programme bringing together farmers, manufacturers, designers, brands, retailers and consumers around wool’s applications across fashion, interiors and artisan products.

This year, the campaign is placing increasing emphasis on wool’s traceability, responsible land management, animal welfare, recycling and circularity, alongside its natural and renewable qualities.

In a statement, Maclean said: “It is a great honour to be appointed chairman of the Campaign for Wool. Wool has such an important role to play in the future of textiles, with its natural, renewable and biodegradable qualities making it increasingly relevant as we seek more sustainable materials and more responsible ways of producing and consuming.”

The Campaign for Wool was established by His Majesty King Charles III in 2008 and formally launched in 2010 to promote wool and support woolgrowers across major producing regions including the British Isles, Australia, New Zealand and South Africa.

Danish jewellery brand Pandora is launching the Pandora x Pat McGrath collection this autumn, developed in collaboration with British make-up artist Dame Pat McGrath. The line features 17 charms and rings and translates the use of colour that made McGrath famous in the beauty world into jewellery. The collection is founded on the principles of personal style and self-expression.

For over 20 years, McGrath has been defining the looks on international catwalks and is considered a key driver of global beauty trends. She is, among other roles, the beauty editor-at-large for British Vogue.

Lips, hearts and make-up icons

The designs combine McGrath's signature glossy lips with Pandora's sparkling hearts and miniature versions of make-up icons. The colour palette is derived from McGrath's work, featuring red, purple and gold. The collection includes signet rings shaped like lips; charms with a glossy ombré enamel heart; dangling charms in the shape of beauty products; and lipsticks with crystal details.

There are also medallions with powerful mantras, a nod to McGrath's status as “Mother” of the make-up world. The pieces are designed to be combined and layered. The charms can be worn on necklaces, hoop earrings and bracelets, mixing different metals or in striking colour combinations.

Colour as a means of transformation

“This collection is the result of two creative visions coming together around one powerful idea: colour as a means of transformation. Inspired by textures, finishes and visual effects from the beauty world, we have applied materials in new ways to create surfaces with depth and emotion,” said Francesco Terzo and A. Filippo Ficarelli, creative directors of Pandora.

For McGrath, the move into jewellery is a logical one. “For me, make-up and jewellery have always been part of the same art form. I adorn the body with colour, light, crystals, glitter and pigment. Jewellery comes from that same creative instinct, but it is permanent. With Pandora, the two art forms I have always loved have come together in one language,” she said.

Campaign and launch

The accompanying campaign revolves around self-expression and the power of colour, featuring Ava Shipp, Chiharu Okunugi, Ali Dansky and Alton Mason. Red lips, nails and striking charms take centre stage, surrounded by the jewel tones associated with McGrath.

Photographer Sølve Sundsbø shot the campaign, Emma Wyman handled the styling and Willy Busfield created the video. Ryan Mitchell was responsible for the hair styling, while McGrath did the make-up herself.

To mark the launch, Pandora is organising a series of events at various locations worldwide, hosted by McGrath. The collection will be available worldwide from October 8.

Spain’s Retail Textile Association (ARTE), an employer group representing major fashion conglomerates including Inditex, Mango, Primark, and Tendam, has entered a strategic framework agreement with ESIC Corporate Education. The alliance targets managerial and technical skill development across the fashion retail ecosystem, addressing critical talent retention and recruitment challenges in the Spanish market. Under the agreement, both entities will design tailored corporate training programs focused on high-demand operational areas, including digital transformation, supply chain logistics, e-commerce, customer experience, and sustainability.

The partnership grants ARTE member companies preferential access to ESIC executive master’s degrees, executive programs, and specialized professional seminars. Simultaneously, the institutions plan to co-host industry forums and collaborate on research examining European regulatory shifts, evolving consumer behaviors, and market digitalization. To enhance graduate recruitment pathways, the agreement incorporates joint initiatives to expose ESIC students and alumni directly to employment opportunities within the corporate fashion textile sector.

The initiative highlights a growing imperative among major European fashion conglomerates to institutionalize continuous learning in response to legislative, environmental, and technological pressures. As omnichannel integration and sustainability mandates increasingly dictate retail operations, academic partnerships of this scale serve to bridge executive education with real-time supply chain demands, ensuring that higher education institutions align executive curricula with current industry performance metrics.

E-commerce giant Asos has confirmed it was hit by a cyber attack after thousands of customers received a threatening notification through its app on Tuesday, initially leaving the nature and extent of the incident unclear.

A new two-month research and creative residency in Milan is offering professionals and academics from the Visegrad region direct access to the Italian fashion supply chain. Open to applicants from the Czech Republic, Hungary, Poland, and Slovakia, the initiative provides selected participants with a 6,000 euro stipend to support living expenses, housing, and operational costs while undertaking tailored projects in the region. Applications for the residency remain open through October 15, targeting both traditional fashion practitioners and cross-disciplinary researchers seeking to examine Italian design and manufacturing models.

The program structures its two-month curriculum around independent research supplemented by structured academic coursework, industrial site visits, and institutional networking. Participants gain access to research facilities, including the Luigi Bocconi Library, along with specialized studio access and dedicated masterclasses covering textiles, fashion sociology, knitwear development, and contemporary art history. The itinerary incorporates visits to local museums, regional trade fairs, and specialized facilities, culminating in a dedicated educational excursion to the seat of AMC in Rome.

From an academic perspective, the program highlights a growing shift toward cross-border educational initiatives that bridge regional gaps between Central European talent and major West European production hubs. By admitting candidates from both fashion and non-fashion disciplines, the initiative encourages multidisciplinary methodologies, allowing institutions in the Visegrad countries to foster alumni expertise in sustainable supply chain management, material research, and international fashion economics.

Hamburg - In an update on Westwing Group SE (ISIN: DE000A2N4H07), analyst Christian Sandherr of NuWays AG has reiterated a "BUY" recommendation with a 12-month target price of 23.50 euros.

Following the recent share price weakness, the research firm sees roughly 100 percent upside at current levels. Impressions at the firm's conference in Paris confirm a bullish view on the investment case.

Growing international presence

After entering the Baltic states (Estonia, Latvia and Lithuania) at the end of July, the company has now also launched in Ireland and Bulgaria, bringing its European presence to 28 countries.

The step-by-step rollout fits the asset-light, platform-based approach of serving new markets from the existing logistics and sourcing set-up, rather than building local infrastructure.

While the incremental revenue contribution is likely small, it clearly underpins the successful execution of the company's strategic transformation.

UK ramp-up going well

In March, Westwing entered the United Kingdom with a local online store and a curated assortment, where traction appears to be building quickly.

To further support the launch, the company recently announced a collaboration with Victoria Beckham, launching on October 12, building on existing ties to the designer.

The partnership is viewed as a way to significantly raise brand awareness in a market where Westwing is still largely unknown. The UK remains one of the critical markets to watch for the international growth story, with the UK Home & Living market estimated at around 20 billion euros—representing roughly 15 percent of Westwing's addressable market and making it the largest single market addition in company history.

Current trading

Sales are tracking in the upper half of the guidance range, with Westwing continuing to gain market share, especially internationally as country launches ramp up.

In the DACH region, consumer sentiment in Germany remains challenging, largely unchanged versus the second quarter, and continues to weigh on key performance indicators such as average order values. Planned store openings are expected to partially offset these headwinds.

At the same time, ongoing marketing investments in the UK weigh on profitability. The full-year adjusted EBITDA margin is forecast to decline by 1.2 percentage points year-on-year to 8.6 percent, reflecting the challenging home market as well as deliberate growth investments of approximately 10 million euros, led by the UK expansion and retail openings.

The mid-point of the adjusted EBITDA guidance is considered to remain well within reach.

Valuation remains highly attractive

At 4.8x FY26e EV/adj. EBITDA, valuation remains undemanding for a business with this trajectory.

Westwing combines sustainable growth with improving profitability and a strong balance sheet, supported by 90 million euros in net cash at year-end.

The UK and the newly entered markets add further growth optionality, while the turnaround and management's delivery of the value creation plan underpin conviction in the investment case, confirming the BUY rating with an unchanged target price of 23.50 euros based on discounted cash flow analysis.

Italian fashion label Miu Miu, part of Prada Group, has teamed up with American denim brand Wrangler for the newest edition of its 'Miu Miu Upcycled' project. The collaboration was presented on October 4, 2026, during the label's spring/summer 2027 show in Paris.

For this edition, Miu Miu has reworked a Wrangler garment in its own signature fabrics and design codes. According to the brand, the result is a piece that started out as a functional item and has been shaped by time and wear. The full Wrangler x Miu Miu collection is set to become available in early 2027.

Among the pieces shown on the runway was Wrangler's 'Cowboy Cut' jean, a slim-leg style that Miu Miu reinterpreted with hand-laced, criss-cross cords across the front. The lacing detail returned throughout the SS27 show.

Vintage pieces, deconstructed and rebuilt

As with every edition of 'Miu Miu Upcycled', the garments are sourced through vintage specialists around the world. This time, Wrangler took part in that sourcing process itself. Miu Miu then deconstructs and reconstructs each piece, turning it into a new garment.

The label launched the project in 2020 as part of its commitment to circular design and its interest in vintage fashion. Through the initiative, garments that have already been worn are given a second life.

Wrangler, owned by US apparel company Kontoor Brands, dates back to 1947. Since then, the denim brand's best-known designs have moved beyond their functional origins and have been adopted and reinterpreted in the culture of the American West, as well as in music, film and fashion.

US visual search and social commerce platform Pinterest has appointed James Dibbo as chief financial officer (CFO), effective October 26, 2026. Dibbo will report directly to chief executive officer (CEO) Bill Ready and will oversee the company's global finance organization, spanning corporate development, investor relations, tax, treasury and workplace operations.

Paris - The new season's fashion whirlwind, which passed through New York, Milan, Paris and, to a lesser extent, London, has concluded. It established several distinct trends in womenswear for the upcoming warmer seasons.

Modular fashion

Instead of complete, and inherently more expensive, 'total looks', designers this season have overwhelmingly focused on breaking down outfits into individual separates.

“The emergence of separates has become a key theme this season. We have taken our iconic silhouettes, dresses, and necklines and reinvented them as tops and bottoms,” explains designer Daniel Roseberry at Schiaparelli.

“Styling and mix-and-match are becoming almost as important as the product itself. It is a fashion that encourages self-creation rather than adopting a uniform. These are sophisticated clothes worn instinctively,” analyses Victoria Dartigues, director of the womenswear and leather goods buying department at Galeries Lafayette in Paris.

“We are moving away from the idea of a total look or a single trend, towards a wardrobe that seems built over time, where each piece adds a touch of soul,” she continues, citing Celine or The Row by the Olsen sisters.

Skirt as the season's key piece

The skirt dominated the runways, “with a great deal of fluidity and movement, presented in various shapes and lengths,” according to Elodie Abrial, commercial director of the Le Bon Marché group.

At Chanel, it repeatedly appeared just below the knee. This length is known as “the Chanel length” and was considered the most flattering by Gabrielle Chanel.

In Milan, Prada obsessively focused on “this unique and universal garment,” the house explained.

“The skirt is a contemporary object; it is flexible and adaptable. It invites contradiction,” commented Miuccia Prada in a statement after the show.

“Each skirt can also be completely reinvented by the person who wears it, through its combinations and juxtapositions with other pieces. They can transform its meaning,” the designer emphasised.

Exposed bra

Lingerie featured heavily, particularly bralettes worn alone or under a jacket. The bra has made a comeback as a simple top. It appeared on the runways with lace paired with fur at Dolce & Gabbana, and also in street style, combining comfortable urban wear with more elegant pieces.

In London, the label Dreaming Eli built its show around nostalgic lingerie, “highlighting slightly old-fashioned fabrics like lace and satin,” summarises journalist Pascal K. Douglas, a contributor to major European fashion magazines.

At Fendi, Maria Grazia Chiuri let the bra—a black-embroidered satin triangle—set the sensual tone for most of her silhouettes.

ASMR palette

A soft colour palette is emerging with “colours that soothe and lower cortisol levels: butter, lavender, sage,” analyses Pascal K. Douglas.

“These nature-related colours are good for the body, as seen at Dries Van Noten, Ester Manas, and Gundi Studios. This calls for calm and peace in reaction to the current socio-political climate,” he continues.

Soft tones were also seen at Victoria Beckham and Icicle in Paris, and at Ashley Williams in London. These included shoulder-padded shirts in shades ranging from light blue to yellow and baby pink.

At Diesel, this softened palette was coordinated, pairing a mint-green skirt with a bubblegum-pink jacket. At Bottega Veneta, it appeared as comfortable, light-yellow pleated trousers with a bright pink jabot blouse.

Puffed up

First imagined by Christian Lacroix in the mid-1980s, the “pouf” skirt—a voluminous piece with a puffed or bubble effect—is making a triumphant return.

Loewe and Dior made it a key silhouette, while Miu Miu and Zimmermann offered it in a very short version.

Comme des Garçons made it its centrepiece. It appeared in denim as a voluminous sculpture, even drawing inspiration from the image of a court jester.

This trend, however, could quickly deflate. The pieces are more for image than for the wardrobe, as they are almost impossible to wear when seated.

Consumers are increasingly arriving through AI, recommendations, social platforms and marketplaces. The battle ahead will be how to influence recommendation engines, not simply ranking in search engines, explains Justin Thomas, VP Sales - EMEA North for Akeneo.

Keywords, rankings and paid placements no longer hold the monopoly over discovery. Instead, the customer arrives after a recommendation has narrowed the field. They may have asked an AI assistant for a suitable laptop, discovered a product socially, followed a marketplace recommendation or delegated the comparison to an autonomous agent. The conventional search box may appear later or it may not appear at all.

In this context, retailers may be asking the wrong question, “Will the customer find us?” remains important but retailers must consider: “Will the systems advising the customer understand us, trust us and recommend us?”

New UK research among 200 senior technology and business decision makers illustrate how quickly that question is moving up the agenda. 60% expect AI agents, including autonomous shopping and comparison tools, to be among the customer interaction channels most influenced by AI over the next three years. Conversational or chat based journeys were selected by 36%, while 33% pointed to social commerce.

The key is, brands do not control the interface but a third party interprets the need and decides which products deserve consideration.

Search engine optimisation was designed to help a page earn visibility while a recommendation engine demands something more extractive. It must identify what a product is, which needs it satiates, how it differs from alternatives, whether it is available and whether the underlying information can be trusted.

A customer searching for a “waterproof walking jacket” may tolerate links. One asking an AI assistant for “a genuinely waterproof, lightweight jacket for a wet week in Scotland, under £200 and available by Friday,” expects a well-reasoned, structured, shortlist. Without dependable information about waterproof rating, weight, fit, price, stock and delivery, the engine cannot confidently justify the recommendation. This is why the battle before the search is essentially a product information battle.

The same survey found that 71% of respondents use structured enterprise systems such as PIM, ERP, DAM and CRM as primary data sources for AI. But this is only the start of the journey to create usable, connected information for the AI world. Data has to be repurposed. Currently, respondents are estimating that an average 43% of AI project effort is already spent preparing data, while 29% said preparation consumes more than half of the total effort.

That burden will increase as long as businesses treat product information as material to be produced separately for individual channels. AI systems need complete, structured and contextualised product knowledge that can move consistently across every place where a recommendation may be made.

There will be no single formula equivalent to the old SEO rules. A marketplace may reward price, availability and seller performance; a social platform may respond to imagery and engagement, while a conversational engine may combine specifications, reviews, authoritative sources and how clearly a product answers the consumers demand.

Brands therefore need to make their product stories both machine readable and worth recommending. That means consistent attributes and taxonomies, but also richer descriptions, use cases, comparisons, evidence, localisation and channel-specific context. Accuracy matters because an AI-generated recommendation can amplify an error as efficiently as it can amplify a strength.

The external signals are already visible. Adobe Analytics reported that traffic from generative-AI services to US retail sites increased 693% year on year during the 2025 holiday season, which shows that AI is becoming a route into commerce.

This transition will be a challenge for marketing teams because a brand cannot simply buy its way into every answer, nor assume that a beautifully optimised product page will be interpreted correctly elsewhere.

Trying to “game” every model is not the answer because recommendation systems change too quickly. A more sustainable strategy is to become the clearest and most trustworthy source of product truth in the category. And that depends on marketing, commerce, product and IT teams working from a common foundation. They must identify the questions customers actually ask, enrich the attributes required to answer them, distribute that information to every relevant endpoint and monitor how products are represented in AI, marketplace and social environments.

There is also a serious commercial consequence to consider. When an agent can compare hundreds of products in seconds, vague differentiation becomes visible. Claims such as “premium”, “innovative” or “sustainable” will carry little weight without specifications, certifications, provenance or evidence. AI may expose where brand language has been compensating for thin product information.

Search remains important as does the brand website but both are becoming parts of a wider discovery system in which consumers may reach a brand that has taken the necessary steps to have optimised and informed data. This means the next battle starts before the search, using trusted product knowledge that makes machines choose the brand before the customer starts to choose.

About Akeneo

Akeneo is the Product Experience (PX) company and global leader with its Product Cloud solutions, providing the foundational operating system for the AI commerce era.

With its agentic Product Cloud, Akeneo enables brands, manufacturers, distributors, and retailers to centralize, govern, and orchestrate their product information, transforming fragmented data into trusted, actionable assets. With the integration of PricingHUB, Akeneo extends its platform beyond product data to unify product data and pricing — the two signals that drive discovery, conversion, and business performance. Together, Akeneo helps organizations move from managing product information to making better business decisions, aligning what they sell and how they sell it to compete and win in a rapidly evolving, AI-driven market.

Leading global brands, including Chico’s, TaylorMade Golf, Rail Europe, and more, trust Akeneo to scale their commerce initiatives and deliver consistent, high-performing product experiences. For more information: https://www.akeneo.com

Paris - Louis Vuitton closed the women's ready-to-wear spring/summer 2027 show season in Paris on Tuesday. The collection featured a note of lightness in its fabrics and a resolutely futuristic outlook. This marked the end of a month-long marathon that began in New York and passed through London and Milan.

Weaving between a row of retro-futuristic shuttles placed on the ground as if inert, models strode briskly through the Cour Carrée of the Louvre. They walked under the watchful eyes of actresses Zendaya, Emma Stone, Catherine Deneuve and Jennifer Connelly.

The first silhouettes launched the aeronautical show, shod in loafers, the shoe of the season. They featured composite dresses made of mesh and fabric as light as cigarette paper.

The palette was grey, silver and yellow, reminiscent of a landing strip. Monogrammed aviator jackets completed the thematic unity.

In a more conventional vein, straight-cut sixties-style dresses followed, adorned with reflective paper diamonds that fluttered in the wind.

“Nothing is rigid, everything is fluid, like a second skin that reveals physicality in motion. Designed for action, these pieces are born from instinct. They also serve as a reminder that the body is made to move,” wrote Nicolas Ghesquière in the show notes for the collection, which he named “Ergonomics”.

When questioned afterwards, the designer explained that he worked with ongoing climate change in mind. He aimed for an almost "scale-like" precision to make the fabric "a second skin, as light as possible".

In line with this theme of lightness, the bags have also shrunk, potentially providing an entry point for a wider clientele.

While its direct competitors, Chanel and Dior, are benefiting from the novelty effect created by the arrival of Matthieu Blazy and Jonathan Anderson, Louis Vuitton is playing the stability card. It does so with French designer Nicolas Ghesquière, 55, who has embodied the brand for nearly 13 years, despite occasional rumours of his departure.

He is notably responsible for creating signature pieces such as the Petite Malle and the Twist bag.

Under his direction, the brand has gained visibility and popularity. However, LVMH does not publish separate figures for the house.

Paris Fashion Week October 2026: Stella McCartney continues its commitment to animal and nature protection with a spring/summer 2027 collection that rethinks material choices.

The ocean inspires the shapes, colours and patterns of Stella McCartney's spring/summer 2027 collection, but also serves to ask the question: “At what point does a living being become a commodity, and who decides?”

The show's invitation features the voice of oceanographer and marine biologist Sylvia Earle. She calls for an awareness of our connection to the ocean and its inhabitants.

The house became independent again in 2025. It has announced a ready-to-wear collection made from “100 percent responsible materials”. The brand excludes animal leather, fur, skins and feathers. However, it uses wool and silk, which means the collection is not entirely vegan.

Virtuous approach illustrated through various materials and processes

This approach is reflected in the use of Algae Black from Living Ink, a company specialising in biotechnology. This is a plant-based ink and pigment made from algae, specifically spirulina. It is offered as an alternative to petroleum-based pigments.

The denim is made with RCO100 by Säntis Textiles from 100 percent cotton waste. This waste comes from either industrial cutting scraps (pre-consumer) or used clothing (post-consumer). It is produced using a mechanical process advertised as being free of water and chemicals.

The house's iconic Falabella bag, recognisable by its metal chain, is offered in transparent versions. These versions incorporate recycled PET (from plastic bottles) and TPU (thermoplastic polyurethane).

Do these few examples make the ambition for alternative materials tangible on a larger scale?

The key challenge is determining the price and volume conditions under which these materials can be widely adopted. This is precisely the issue that The Climate Pledge Fashion Coalition aims to address. The coalition was co-founded by Stella McCartney, Amazon and the NGO Canopy.

Making a pair of jeans is no small feat; in fact, it requires many steps. Not all of them are easily traceable or even visible. While the mills producing the fabric and the washing and dyeing businesses are on the radar — and the factories sewing the garments too, due to recent efforts — following the cotton is harder.

In an interview with The Business of Fashion, veteran designer Marc Jacobs reflects on the current volatility across the global fashion ecosystem and challenges the industry's reliance on executive leadership shifts to solve broader market problems. Addressing the ongoing cycle of creative director rotations at major luxury houses, Jacobs argues that corporate leadership often misdiagnoses structural failures as creative ones. He notes that continuously swapping design talent fails to address systemic issues such as overproduction, relentless collection schedules, and an over-reliance on aggressive retail expansions or maintenance-driven business models.

Reflecting on his brand's departure from LVMH after nearly three decades, Jacobs outlines the limitations of operating within large corporate conglomerates. While acknowledging the crucial backing LVMH provided during his tenure at Louis Vuitton and the early growth of his namesake label, he points out that recent corporate strategy stagnated the brand into a "maintenance program." Seeking new avenues for growth and brand evolution, he discusses how moving away from luxury conglomerate structures offers independent houses the freedom to redefine success beyond volume metrics and physical store expansion.

For emerging designers and industry professionals, Jacobs offers a perspective grounded in practical experience rather than traditional commercial metrics. He emphasizes that despite dramatic shifts in technology and consumer behavior over the past thirty years, the underlying driver for success remains an unwavering commitment to creative instinct and product passion. Rejecting conventional corporate ideas of legacy, he advises the next generation of fashion leadership to redefine success around creative integrity and agility rather than sheer size and output.

Join us live for a download of the key insights from the latest Fashion Weeks. Together, we’ll unpack the standout directions in Women’s and Accessories, from themes and colors to key items, graphics, and details.

Live Webinar: SS 27 Women's Fashion Week Insights
October 21 · 10am EDT / 4pm CEST

Speakers

Patricia Maeda · Director of Womenswear, Future Snoops
Anush Mirbegian · Director of Accessories, Future Snoops
Nico Williams · Strategist of Pattern + Graphics, Future Snoops

You can register here.

UK lingerie retailer Bravissimo Limited has published its annual financial statements for the 12 months ended March 31, 2026, reporting revenue of 51.78 million pounds.

US apparel group G-III Apparel Group (G-III) has named Emily Vannucci George as president direct-to-consumer (DTC) North America, with a primary focus on Marc Jacobs.

UK online fast fashion retailer Shein Distribution UK Limited, the UK subsidiary of Singapore-based Shein Group, has posted an 18.5 percent increase in annual net profits to 33.92 million pounds for the financial year ended December 31, 2025, up from 28.61 million pounds in 2024.

UK activewear brand Sweaty Betty has published its financial statements for the 53-week period ended January 3, 2026, reporting revenue growth alongside reduced operating profits following a year of structural transformation.

CEO Interview When Jackson Wirht and creative director Justin Saul bought Elwood Clothing in 2020, the skate label had been dormant twice and was leaning on heavy discounting. Their first change was a question. "We switched from the existing product strategy of 'will this sell' to 'will WE actually wear this'," Wirht told FashionUnited.

In this episode, host Danny Parisi sits down with Nico Cessot, Head of Marketing North America at Uniqlo, to break down the Japanese retailer’s aggressive brick-and-mortar and digital scaling strategy across the U.S. Cessot outlines how Uniqlo balances its low-SKU, high-volume "LifeWear" basic model with localized marketing campaigns and strategic regional flagships beyond traditional coastal hubs.

For retail strategists, merchandisers, and brand directors, the dialogue provides actionable insights into navigating inventory turnover, managing retail footprint expansion in secondary markets, and retaining consumer value loyalty amid macro-inflationary pressure. Which core operational vertical should we examine in our next feature—such as digital supply chain traceability, luxury vintage archiving, sustainable textile innovation, or intellectual property law in fashion?

Oxfordshire-based grassroots organization Cherwell Collective staged its third annual Sustainable Fashion Show at the Orangery at Blenheim Palace, serving as the local hub for Sustainable Fashion Week. The event presented over 50 runway looks constructed entirely from circular, upcycled, and sustainable materials to demonstrate practical solutions to global textile waste. By diverting more than 85 kilograms of waste from landfills, the event generated carbon savings equivalent to 6,500 car miles while engaging over 20 models across diverse ages, sizes, and backgrounds to promote inclusivity in sustainable design.

The showcase highlighted experimental material innovations and creative reuse strategies across 10 regional designer collections, including work from student designers at Activate Learning who upcycled discarded football kits to draw attention to synthetic sportswear waste. Other technical design solutions featured garments constructed from obsolete technology waste, deadstock fabrics, vintage household linens, and repurposed upholstery. The finale featured a floor-length patchwork coat engineered from secondhand plush toys. Attendees were given immediate access to purchase the runway looks online, with proceeds directly supporting Cherwell Collective's ongoing Carbon Cost of Fashion campaign.

For fashion education institutions and curriculum developers, the Blenheim Palace show underscores the growing necessity of integrating circular design methodologies, material upcycling, and waste metrics directly into design pedagogy. The inclusion of student work alongside established local organizations illustrates how academic partnerships with community-led sustainability initiatives can offer students critical real-world platforms to test alternative production methods. As the fashion industry faces heightened pressure to shift toward closed-loop manufacturing, events of this nature demonstrate how regional educational hubs can train future designers to balance artistic innovation with measurable environmental impact.

Milan-based fashion house Jil Sander, owned by Italian group OTB, and American eyewear brand Oliver Peoples have released the second collection of their sunglasses collaboration. It follows the first drop in March.

The collection was designed by Jil Sander's creative director Simone Bellotti together with Oliver Peoples. It comprises three new styles, one in titanium and two in acetate, which are handmade in Japan and fitted with lenses produced in Italy.

According to the brands, the second collection moves towards rounder, softer shapes and places more emphasis on colour, with frame and lens combinations ranging from tonal pairings to stronger contrasts.

"It's a collection that plays on contradictions: extreme Japanese precision for an organic, fluid feel," Bellotti said. He pointed to the acetate frame of Edition 9, which widens towards the bottom.

The titanium style, Edition 7, combines a rounded frame with a sculpted top bar and curved temples, and comes with adjustable nose pads and Oliver Peoples glass lenses. Edition 9 is cut from thick acetate, giving the front an angular look, and carries small gold engravings, including 'handcrafted in Japan' on the temple tip.

Edition 10, also in acetate, has a rounded, upswept shape and curved temples. Each of the three styles is available in four frame and lens combinations.

The brands present the collaboration as part of Bellotti's work to establish his vision at Jil Sander, where he has been creative director since March 2025.

Swiss fashion retailer Metro Boutique has added the streetwear brand Iets Frans to its product range, becoming its exclusive brick and mortar stockist in Switzerland.

Video: How Arc'teryx became a $2B+ luxury brand without intending to

A report by The Wall Street Journal examines the commercial evolution of Arc’teryx, tracing how the specialized Canadian technical outerwear brand transformed into a global luxury status symbol valued at over $2 billion. Founded in 1989 as Rock Solid, the company established its reputation on high-performance alpine survival gear engineered for extreme conditions. While roughly 95% of its manufacturing is outsourced to the Asia-Pacific region, Arc’teryx maintains a 5% domestic footprint at its ARC’One facility in British Columbia to pilot experimental manufacturing techniques and produce complex garments like its flagship Alpha SV jacket.

To protect its brand equity and preserve margins, Arc’teryx executed a major strategic shift during the pandemic by pivoting away from third-party wholesale partners who frequently discounted products. The company successfully re-engineered its distribution strategy, transitioning from an 80% wholesale reliance in 2020 to generating approximately 75% of its total revenue through direct-to-consumer channels. The brand has also integrated circularity into its long-term customer retention strategy through its ReBird initiative, operating dozens of dedicated repair centers globally to extend product lifespans and build long-term brand loyalty.

The brand's rapid scaling has been further propelled by cultural tailwinds such as the "Gorpcore" trend, which positions performance outdoor apparel as high-end urban streetwear, even as executive design priorities remain strictly anchored in mountain survival. Following the 2019 acquisition of parent company Amer Sports by an Anta Sports-led consortium, Arc’teryx significantly expanded its retail footprint across Greater China, where products command prices approximately 20% higher than in North America. Today, Greater China accounts for nearly 44% of Amer Sports' overall sales, demonstrating how technical functionality can be leveraged to establish a high-margin global luxury position.

Danish jewellery brand Pandora, officially opened its new regional headquarters in Singapore on October 2, 2026, marking a key milestone in its strategy to accelerate growth across Asia.

Asos shares, traded under ticker ASC on the London Stock Exchange, have dipped more than 11 percent as of Tuesday at 12h20 GMT, following reports of a cyberattack.

Madrid – Looking beyond the official show schedule of the latest Paris Fashion Week, and from within the presentations category, Spanish designer Abraham Ortuño’s brand Abra presented its new collection for the spring/summer 2027 season on Monday, October 5. This “wonderful” collection, in its inspiration, feeling and form, was unveiled in a runway show format. The presentation comes ahead of the Spanish designer's upcoming debut as the new global creative director of Camper, where he will present his first collections for the brand in early 2027.

Another day, another stripe case for Adidas.

US sportswear giant Nike has appointed Michael Hunter as vice president and general manager of Nike Japan, effective September 2026. Hunter announced the appointment in a LinkedIn post.

Review

For the presentation of his spring/summer 2027 collection, Mossi Traoré returns to Père-Lachaise. Inspired by the tombs, fauna and flora, the designer celebrates life while asserting an evolution of his business model. The collection is becoming less of an object for commercialisation and more a medium for creation, expression and transmission.

Staging a show in a cemetery, in this case Père-Lachaise, is not a first for Mossi. He presented his collection inside the crematorium 14 years ago. It was for this show that he called Anna Wintour and pretended to be a press officer. He even staged this anecdote during his autumn/winter 2026 trial.

For spring/summer 2027, he returns to a more classic show in form, but not in substance.

Père-Lachaise, an ecosystem at the heart of the collection

Organising a performance in a cemetery is to acknowledge it as a living space, not just a representation of death.

The tombs directly inspired the design of the clothes. Mossi observed the ornaments, materials, shapes and traces of time on the graves, then translated them into a “textile vocabulary”. The final tableau also echoes the sculptures located behind the runway.

The collection is based on the collective work of artisans: textile makers; embroiderers; feather workers; specialists in plant embroidery; and experts in dyeing processes. The greys refer to the stone of the tombs and the greens to the sculptures and vegetation of Père-Lachaise.

Speaking to FashionUnited, Mossi explains that he considers “death as a friend”, someone “we will all meet one day”. He connects this concept to his Muslim beliefs: “death is not an end in itself. Behind death, there is life.”

Where there is life, there are living things: visitors who have come to pay their respects; walkers; vegetation; birds; and all the other animals that inhabit the paths of Père-Lachaise. Mossi says he drew inspiration from the book 'La Vie au cimetière' by Benoît Gallot, the curator of Père-Lachaise, to conceive his performance.

The curator describes the cemetery as an urban ecosystem: foxes, weasels, hedgehogs, birds, insects, as well as trees and vegetation. He recounts how, during the lockdowns, the decrease in human visitors made this wildlife much more visible.

This animal life even found its way into the show's soundtrack: Thibaut Noireau recorded the sounds of the animals that live in the cemetery.

Collection not intended for sale

This show also signals a change in business model.

Mossi is no longer operating with a ready-to-wear logic aimed at the wholesale market. Speaking to FashionUnited, he explains that his brand now serves as a “showcase”, an “experimental laboratory” and a “field of expression”.

His project therefore no longer consists solely of “making and selling clothes”: the collections allow him to fuel narratives.

In doing so, he highlights a reality of Fashion Weeks. The shows serve as creative showcases for brands. Celebrities in the front row monopolise attention. The pieces shown on the runway are rarely commercialised. The in-store offering is narrowing, and the world of fashion brands is clearly expanding into other business sectors.

Mossi is now embracing a more museum-like dimension. Until November 16, 2026, the MUCEM is dedicating an exhibition to him entitled 'Mossi Traoré, la mode aussi'.

On this subject, the designer stated: “The Mucem and I champion cultural democratisation. We are convinced that art must reach those who do not have access to it.”

This statement marks Mossi's social commitment. He founded Les Ateliers Alix, which now receives support from Chanel. They are dedicated to passing on knowledge and providing access to fashion professions, notably by supporting young talent and covering, according to Mossi, 65 percent of students' tuition fees.

G.H.Bass has partnered with Clarks Originals, the heritage line of British footwear company Clarks, on a limited-edition loafer, adding a cross-brand release to the programme marking its 150th anniversary.

The G.H.Bass x Clarks Originals Wallabee Weejuns Loafer combines the handsewn moc stitch of G.H.Bass's Weejuns loafer with the Clarks Originals Wallabee last and its natural crepe outsole. The style launched on October 1 in men's and women's sizing, and retails for 295 dollars exclusively on ghbass.com.

The hybrid comes in two colourways. The maple version, the Wallabee's signature colour, uses suede from English tannery C.F. Stead, while the black version is made in the polished box leather long used in the Weejuns line. Both are built with G.H.Bass handsewn moccasin construction on a modified Wallabee last and come with co-branded sock liners and packaging.

"Our collaboration with Clarks Originals brings together two brands with a shared appreciation for craftsmanship and timeless design. As G.H.Bass celebrates its 150th anniversary this year, we are excited to mark the occasion by continuing to focus on the craft and heritage that has shaped our brand for over 100 years," said Jonathan Frankel, president of Aldo Product Services. "The timeless and thoughtful design of the Wallabee feels like a natural fit with our iconic Weejuns, a style at the center of our brand, with deep roots and a special place in our history."

Darren Day, chief marketing officer of Clarks, added: "We are excited to bring two brands with such deep heritage together to combine two of the most iconic footwear styles in the world, celebrating generations of everlasting style."

Anniversary programme

The release extends a year of activity for G.H.Bass, which is marking 150 years since George Henry Bass entered shoemaking in Wilton, Maine, in 1876, and 90 years of the Weejuns penny loafer, introduced in 1936. The celebrations launched during Paris Men's Fashion Week on June 26, followed by events in Berlin, Milan, New York and London, a limited-edition capsule collection carrying a commemorative anniversary penny, and collaborations with partners including Dover Street Market and Karl Lagerfeld.

The partnership lands amid a sustained revival of the loafer category, which G.H.Bass is positioning around its heritage rather than trend. "When people discover a trend, they often begin looking for the authentic products and brands that inspired it. That's where G.H.Bass has a unique advantage," Cyril Crentsil, marketing and PR manager at G.H.Bass, told FashionUnited in September.

Clarks Originals was formed in the 1990s to focus on the archive styles of the 200-year-old Clarks, including the Wallabee and its crepe sole. G.H.Bass says its 1936 Weejuns, adapted from a Norwegian farm shoe, was the first penny loafer.

Sports eyewear brand Oakley and London-based label Kiko Kostadinov are making their eyewear collaboration available to buy for the first time since it appeared on the Paris Fashion Week runway in March. The release centres on Oakley's Ellipse model, offered in limited-edition colourways with feather and wood grain motifs.

The colour treatments were developed by Laura and Deanna Fanning, the twin sisters who lead womenswear at Kiko Kostadinov, together with Oakley's design team. The frames were part of the label's autumn/winter 2026 womenswear collection.

Feathers and wood grain

The collection drew on Cindy Sherman's 1992 photographic series 'Fitcher's Bird', with natural patterns and bird plumage shaping its colour palette. The same references carry over to the Ellipse frame.

"Rethinking the Ellipse as a part of our collection allowed us to work with the team on custom-designed treatments for their frames," the Fanning sisters said. They added that the enlarged wood grain and feather patterns reference the collection's themes of birdwatching and the outdoors, which also connect to Oakley's own focus on the outdoors.

Two colourways

The Ellipse combines a circular shape with curved details inspired by the 1990s, and takes its name and outline from Oakley's ellipse logo. The limited edition comes in two colourways, Amherst Fade and Woodgrain, both fitted with Oakley's Prizm Bronze lenses.

The frames are available now from selected Kiko Kostadinov stockists, on the Kiko Kostadinov and Oakley websites, and at selected Oakley stores and retail partners worldwide.

UK footwear brand Dr. Martens has announced the appointment of Kate Vacovec as global commercial finance director. Vacovec will join the company in early October 2026 from US restaurant company Yum! Brands.

Paris - Uruguayan designer Gabriela Hearst celebrated the art of Afghan women in her spring/summer 2027 collection, presented this Monday in Paris. The collection featured traditional prints and embedded craftsmanship.

The Afghan inspiration was evident throughout the collection, appearing in white ensembles with small incorporated mirrors; dresses with full skirts and fitted bodices featuring traditional motifs; and pieces covered in floral crochet details.

“The season pays homage to the rich creative and textile traditions of the region, studying their practical and cultural functions, and working directly with the Afghan artisans who continue to preserve and develop this legacy through their craft,” the brand's press release stated.

In other garments, the inspiration was more subtle, such as the white lace ensemble that closed the show, which concealed delicate pomegranates, the country's national fruit.

New York-based Hearst also incorporated the Afghan influence into her signature pieces, such as leather jacket and trouser sets trimmed with floral motifs.

The designer “conceives tradition not as something static, but as something kept alive through its use by the women who practise and sustain it,” the note added.

Her new line also includes more of the brand's signature styles, which often feature leather. These include light trench coats in shades of blue or pale yellow paired with cargo trousers, denim pieces, and elegant jacket and trouser suits.

Hearst, the only Latin American representative on the official Paris Fashion Week calendar, was the artistic director of the French house Chloé from 2020 to 2023.

For a decade, her personal brand has been chosen by celebrities such as Kate Middleton, Julia Roberts and former US first lady Jill Biden.

The designer's work is based on the concept of sustainable luxury, and the fabrics are often made from leftover materials from previous seasons. For the macramé and crochet pieces, she works with the Bolivian collective Madres y Artesanas.

British luxury lifestyle brand Smythson has announced the opening of a new flagship store on Madison Avenue in New York. The store, located at 575 Madison Avenue, marks 25 years since the company opened its first standalone store in the city.

UK heritage fashion brand Belstaff International Limited (Belstaff) has reported a 3.8 percent increase in turnover for the fiscal year ended December 31, 2025, reaching 56.70 million pounds compared to 54.60 million pounds in 2024.

UK-based Frasers Group, parent company of Sports Direct, has acquired an 8.78 percent stake in Under Armour, according to a Schedule 13G regulatory filing dated October 1.

French luxury house Dior, part of LVMH, has released a preview of its cruise 2027 campaign ahead of the full launch on October 22, when the collection arrives in stores. The campaign was shot by photographer Sam Rock at the Los Angeles County Museum of Art, the venue of the cruise 2027 show.

It features actors Jennifer Lawrence, Greta Lee, Taylor Russell and Drew Starkey, who are shown moving through the museum's galleries as versions of themselves. According to Dior, each of the four has a personal interest in art, which the images are built around.

Colour is central to the campaign. Creative director Jonathan Anderson's palette for the collection draws on California, the Technicolor era of Hollywood and Pop Art.

New bags and an Ed Ruscha collaboration

Much of the preview is given over to new bag styles. Lee carries the Dior Double, a two-handled satchel, while Russell is shown with the Dior Initials Hobo, a triangular shape with stitched cannage, the quilted pattern associated with the house.

Starkey wears the Dior Double-Up Messenger, an oversized bag with double buckles and flaps. The campaign also features the Dior Granville line, including a black leather shopper and a suede duffle with contrast cannage stitching.

Starkey is further pictured in shirts from Dior's collaboration with American artist Ed Ruscha, printed with text from his work. Claude Monet's 'Water Lilies', which hangs at the museum and appears throughout the series, links the campaign to the water lily motif of Dior's autumn/winter 2026 collection.

Golden Goose has named Giorgio Belloli chief consumer officer. He will lead the brand’s global market development strategy, aimed at strengthening its international presence and maximizing business impact across all channels, the company announced on Monday.

“Joining Golden Goose is an exciting opportunity to contribute to the brand’s next phase of global growth as a cultural brand. Golden Goose is evolving into a platform where product shifts into experiences, and stores become collaborative spaces for self-expression. We are now ready to bring this vision to scale,” Belloli said in a statement.

Belloli joins Golden Goose after almost three years as Burberry’s chief digital customer and innovation officer. Prior to that, he also spent nine years at Farfetch, overseeing key acquisitions and managing the global business, and held senior positions at Kering and managerial roles at the Prada Group across Miu Miu, Helmut Lang and Prada.

As Golden Goose’s CCO, he will also be responsible for CRM, digital channels and omnichannel strategies.

Silvio Campara, CEO of Golden Goose, said Belloli is “the right person to support me in leading the shift from a global product brand into a cultural brand, with a strong emphasis on people and communities.”

“With his experience, he will evolve our omnichannel strategy towards omnipresence. In his new role as chief consumer officer, Giorgio will scale co-creation and make our stores even more experiential for consumers,” Campara said.

Japanese fastener manufacturer YKK will present fastening products designed for repair and recycling at the Textile Exchange Conference 2026. The event takes place at the Vancouver Convention Center in Canada from October 12 to 16, with the main sessions running from October 13 to 15.

It is the second consecutive year that YKK is exhibiting at the conference, which is organised by Textile Exchange, an international non-profit that promotes climate action and resource circularity in the fashion and textile industries. YKK has been a member of the organisation since September 2020.

At its stand, YKK will focus on three areas. Its 'Revived' renewal components are replacement parts intended to extend the life of garments through repair, while the Natulon and Natulon Fiber Sourced ranges use components with recycled content. For fibre-to-fibre recycling, the company will show Natulon Plus with open parts made from recycled PET.

The company will also present the initiatives that fall under its 'YKK Sustainability Vision 2050', and said it aims to use the conference to strengthen collaboration with brands and supply chain partners.

Recycled polyester share reaches 50 percent

YKK is also a participant in the Recycled Polyester Challenge, an industry initiative co-hosted by Textile Exchange and the United Nations Framework Convention on Climate Change through its Fashion Industry Charter for Climate Action. Participating companies committed to sourcing between 45 and 100 percent of their polyester from recycled materials by fiscal 2025.

According to YKK, recycled polyester already accounted for at least 45 percent of its polyester use in fiscal 2024, rising to 50 percent in fiscal 2025. The company said it will continue to increase that share across its products.

Interview Shinola is turning to internet culture to launch its first automatic Duck watch, with a campaign starring four personalities from entertainment, comedy, music and online media.

The campaign, launching Monday features Tefi Pessoa, Kareem Rahma of Subway Takes, Nems and Benton McClintock. Its premise is a rejection of constant productivity, encouraging people to get distracted, touch grass and watch ducks.

"The internet is where a lot of culture happens now, so it would be strange for a brand like Shinola to pretend otherwise," Jonathan Bailey, creative director at Shinola, told FashionUnited. "But we're not interested in chasing every trend or trying to speak in internet language for the sake of it."

Instead of adopting online trends, the brand chose talent it sees as shaping culture and gave them room to bring their own voice to the campaign. "That creates something that feels more like a cultural exchange than a traditional brand message," Bailey said.

The four stars were selected for their distinct points of view. "Tefi, Kareem, Nems and Benton come from very different worlds– entertainment, comedy, music and internet culture, but none of them feel overly manufactured," Bailey said.

The anti-productivity message is a response to the cultural moment. "We're living in a culture that has made productivity feel like a measure of our worth," Bailey said. "We wanted to offer a different perspective: that time can also be valuable when you're doing absolutely nothing with it."

Keeping the manufacturing story

Shinola has built its identity around Detroit and American manufacturing. Bailey said the lighter tone supports rather than undermines that positioning.

"The seriousness of what we make gives us permission to have some fun with how we talk about it," he said. "In fact, I think the contrast makes the manufacturing story feel more relatable."

The campaign also extends beyond social media through a partnership with US cereal brand Cheerios on a limited “Duck Watching Snack.” Fewer than 100 boxes were produced, available only at select Shinola-hosted events marking the launch.

"We didn't want to make a conventional co-branded product; We wanted to create a little artifact that made people smile and gave them another reason to stop, look around and, hopefully, watch some ducks, so to speak," Bailey said.

Duck Automatic collection

The new 38-millimetre Duck Automatic collection includes three styles powered by the Miyota 9015 movement and a limited fourth version using the Miyota 9085, which offers a power reserve of around 80 hours. The watches are designed and assembled in Detroit.

"The automatic movement is serious watchmaking; the Duck gives it a sense of play," Bailey said. The collection goes on sale October 6, with prices starting at 895 dollars.

Belgium-based textile recycling alliance ReHubs has named Béatrice Moureaux as chief executive officer. Moureaux, who has served as board advisor to the Brussels-based organisation since December 2025, brings more than 25 years of experience across technical textiles, advanced fibres, nonwovens and circular innovation to the leadership role.

She succeeds interim CEO Robert van de Kerkhof. Van de Kerkhof will transition to chairman of the board, where he will work alongside Moureaux to guide the alliance's ongoing initiatives.

The appointment arrives during a complex period for European textile circularity. Despite technological developments, scaling textile-to-textile recycling faces structural challenges. Recyclers require stable demand visibility to invest in processing capacity, while fashion brands seek reliable and cost-competitive supplies of recycled fibres before committing to higher purchasing volumes.

To address this challenge, ReHubs is focusing its strategy on overcoming the market deadlock. The membership-based alliance unites stakeholders across the value chain—including collection, sorting, pre-treatment, recycling, yarn spinning, fabric manufacturing, and retail brands—to improve investment conditions and establish a viable recycling industry in Europe.

ReHubs co-chair Kasper Damsø, from Denmark-based sorting company NewRetex, highlighted the necessity of integrated progress across the sector. “We have technologies today that can improve how textiles are sorted and recycled, but technology alone will not create a circular system,” Damsø stated. “All steps along the value chain need to develop together.”

Co-chair Véronique Allaire Spitzer, representing France-based producer responsibility organisation Refashion, noted that extended producer responsibility schemes serve as a key mechanism to advance circularity across the region.

The alliance, which aims to recycle 2.7 million tonnes of textile waste annually in Europe by 2035, recently collaborated with Boston Consulting Group to publish a report detailing the economics of textile-to-textile recycling and necessary investment frameworks. ReHubs plans to build on these findings to identify targeted interventions that foster market stability for recycled materials.

The Instituto Cervantes in Paris hosted the French premiere of 'El eco de otras voces', a documentary detailing the life and professional trajectory of Spanish fashion designer Adolfo Domínguez, on October 1, 2026. Directed by Adriana Domínguez, the firm’s executive president and daughter of the designer, the screening coincided with Paris Fashion Week and marked the 50th anniversary of the author fashion brand.

Produced by the Fundación Adolfo Domínguez, the film offers a comprehensive biographical document tracking Domínguez’s historical contribution to tailoring, from his early years in Ourense and time in Paris to his foundational role in shaping modern Spanish fashion aesthetics.

The documentary examines key milestones in the designer's career, including his revival of traditional linen and the creation of his famous "la arruga es bella" (wrinkle is beautiful) ethos during Spain's transition to democracy. Beyond reflecting on heritage, the premiere aligns with the brand's broader commercial and promotional strategy across key international markets.

France currently serves as the company's third-largest European market after Spain and Portugal, following a four-year period in which sales in the region grew by 102 percent across ten retail points. The Parisian event represents a single stop on an international 50th-anniversary tour that includes upcoming collection showcases in Lisbon and film presentations across Latin America.

For fashion educators and students, the documentary provides a case study in how heritage brands leverage cultural narrative and media archive to reinforce brand identity during major milestone anniversaries. By contextualizing Domínguez's material choices—such as unlined linen—against the socio-political shifts of late 20th-century Spain, the film illustrates the relationship between design philosophy, material development, and consumer culture.

Furthermore, the project demonstrates how luxury and designer labels utilize executive-led storytelling to bridge historical design legacies with international market expansion and long-term brand equity.

UK lifestyle brand Weird Fish reported strong financial results for the period ended December 28, 2025, driven by higher gross margins, expansion across physical retail, and solid online sales.

On September 17, 2026, the Paris Judicial Court delivered a judgment in a trade mark dispute between French luxury label Louis Vuitton and French apparel firm Kamad Reworked, which manufactures and markets clothing made from authentic Louis Vuitton products.

Amsterdam-based eyewear brand Ace & Tate has reduced the CO2 emissions from the production of its frames and lenses by 43 percent in 2025, from 2,030 to 1,155 tonnes of CO2 equivalent. This is according to its 2025 impact report. The company's total CO2 footprint decreased by 10.2 percent to 6,446 tonnes.

Graduate Fashion Foundation and Huddersfield-based cloth merchant Dugdale Brothers & Co have announced a regional tour across 15 UK universities to provide students with hands-on exposure to heritage textile manufacturing and responsible fabric sourcing. Commencing in October 2026, the tour will reach institutions from Cardiff Metropolitan University to Leeds University, offering emerging design talent direct access to industry-level tailoring expertise and fabric knowledge. The initiative marks an extension of Dugdale’s role as the founding cloth partner for the foundation's dedicated tailoring program, reinforcing efforts to bridge the gap between academic study and commercial textile production.

During the campus visits, participating undergraduates and faculty members will engage in knowledge-exchange sessions focused on material development, advanced finishing techniques, and sustainable supply chain practices. The 15 participating institutions—which also include Nottingham Trent University, Kingston University, and Manchester Metropolitan University—will receive curated fabric samples alongside practical guidance on integrating high-grade cloth into creative design workflows. By connecting students directly with the UK's last remaining independent cloth merchant in Huddersfield, the tour aims to demystify traditional manufacturing processes while promoting material-driven design methodologies.

The partnership highlights an increasing reliance on corporate-academic interventions to address skill shortages within the UK fashion and textile supply chain. As luxury markets continue to prioritize material integrity and traceably sourced textiles, early-stage technical education in fabric performance and tailoring becomes vital for entry-level designers. By embedding foundational manufacturing insights into university curricula, the initiative helps safeguard traditional British textile heritage while ensuring design graduates possess the technical literacy required by modern garment manufacturers and tailoring houses.

Amid an increasingly shifting regulatory landscape, this year’s Sustainable Fashion Week (SFW) in the UK sought to prove what a sustainable fashion future looks like when national collaboration is welcomed open-armed. Taking place from September 26 to October 4, SFW saw over 347 grassroots community activities held across 41 regional hubs.

Following the theme ‘Threads of Resistance’, this year’s event, programmed by A Single Thread, addressed the culture of relentless consumerism, and called on people to pivot their focus to what they already own. Its mission is to promote practical action like buying less, keeping clothes in circulation, and exploring fast fashion alternatives through community-led events.

Beyond the schedule, and as eyes turned to discussions of sustainable and circular acceleration, retailers and brands across the country also used the period as an opportunity to unveil eco-centric initiatives and partnerships. Here is, almost, everything that happened throughout the week.

City hubs and regional activities

Institutes, organisations and brands in UK cities took it upon themselves to serve as the hosts of SFW hubs over the course of the week. Norwich University of the Arts partnered with local entities like Norwich Castle Museum and John Lewis Norwich on student showcases, eco-printing workshops, and city-wide exhibitions. Sustainable brand Maku oversaw the Hastins hub, holding visible mending workshops alongside the ‘Keepers Clothes’ exhibition at Depo.

In Bristol, where A Single Thread was founded, the BS3 Slow Fashion Fest involved community clothing swaps, visible repair stations, denim upcycling workshops and more. Bristol Folk House held a Japanese sashiko stitching class by textile specialist Ronnie Wright, while a Slow Fashion Day hosted alongside Rethrindle and Rebel Patch explored high street alternatives.

Screenings and panels

Alongside practical workshops, SFW also used screenings and panel discussions to address the wider fashion system and changes needed. The screening of ‘Woman Grows Jeans’, a film following the production of the UK’s first homegrown, handmade pair of jeans, was followed by a policy debate featuring Anna Bryher, policy lead at Labour Behind the Label, while Smart Works Bristol and stylist Becky Barnes hosted a sustainable styling session.

The ‘Out of Fashion’ panel, meanwhile, brought together SFW founder Amelia Twine and other experts to discuss how communities can create bottom-up solutions for a more sustainable fashion system. The programme was followed by upcycling workshops, including sessions showing participants how to turn old jeans into tote bags and transform bouclé jackets into Chanel-inspired pieces.

The focus on community action continued with an online ‘Start Your Own Repair Workshop’ session, which shared advice on finding venues, facilitating sessions, applying for funding and managing administration. The aim was to provide participants with the tools to bring repair activities into their own neighbourhoods.

Sustainable fashion shows

Sustainable fashion shows also formed part of the nationwide programme, one having taken place at Blenheim Palace, where a runway took place for the third year running. The event, organised by the Cherwell Collective, brought together more than 10 designers and over 70 looks, all of which used rescued, upcycled, pre-loved or non-textile materials.

The show has involved more than 360 community members since its launch and has also received recognition through the Cherwell Business Awards and Oxford Climate Awards. Its focus extends beyond materials, however, with inclusivity positioned as a central part of the event. Designers and participants were selected from different backgrounds and levels of experience, underlining a message that sustainable fashion should be accessible to all.

Campaigns and movements

The week also provided a platform for campaigns seeking to connect fashion sustainability with wider environmental and social issues. One campaign from A Single Thread called for greater scrutiny of the materials used in school uniforms, highlighting concerns around polyester, microplastics and potentially hazardous chemicals. The campaign has requested for the UK Government to restrict hazardous substances such as PFAS in school uniforms and encourage retailers to move away from plastic-based synthetic fibres.

Elsewhere, sustainability initiatives looked beyond clothing itself to explore new uses for textile waste. In Kent, Maidstone Borough Council began testing whether discarded textiles could be repurposed as material for pothole repairs through a trial with sustainable materials company Recool. Five potholes on council-owned land were repaired using an experimental low-carbon material containing recycled textile waste, with the council set to monitor their performance over the coming months.

National and international initiatives

While much of SFW's focus remained firmly rooted in communities, the week coincided with several larger industry initiatives aimed at tackling fashion's environmental impact at scale.

Fashion Renewable Collaborative

Levi Strauss & Co. and Marks & Spencer, alongside Schneider Electric's SE Advisory Services, launched the Fashion Renewable Collaborative to help fashion suppliers transition towards renewable electricity. The initiative is designed to merge brand engagement and give suppliers support in accessing renewable energy solutions.

The Circuit launch

Marks & Spencer has also come together with New Look, Sainsbury's, Oxfam and textile development company Circle-8 to launch The Circuit. The initiative aims to build the infrastructure needed to recover non-reusable textiles and convert them into raw materials for future textile production. Its first phase is due to begin in January 2027 at Oxfam's site in Batley, Yorkshire, focusing on automated sorting, traceability and connections with recycling technologies.

The Climate Pledge Fashion Coalition

Internationally, Amazon, Stella McCartney and Canopy co-founded The Climate Pledge Fashion Coalition, bringing together more than 60 fashion brands, retailers, manufacturers and innovators to help scale lower-carbon materials and production processes. The coalition is targeting net-zero emissions by 2040 and will focus on financing, commercial adoption and policy development around sustainable materials and technologies.

Primark extends Circ partnerships

Primark also announced a multi-year agreement with textile-to-textile recycler Circ, committing to introduce recycled polyester made from textile waste into its clothing from 2029. The deal represents Primark's first multi-year offtake agreement with a textile-to-textile recycler and is intended to reduce reliance on virgin polyester while helping scale Circ's technology for separating polyester and cellulose from polycotton blends.

Madrid – As one of the key entries on the calendar for the latest edition of Paris Fashion Week, the Spanish house Loewe was responsible for opening the fifth day of official shows on Friday, October 2. On this day, the historic Spanish firm, controlled by the French multinational holding company LVMH, presented its new collection for the upcoming spring/summer 2027 season. This proposal is built on practicality and the codes of American minimalism, drawing from Spanish baroque influences and the house's own core values.

French-Italian eyewear group EssilorLuxottica has introduced Nuance Audio Plus, the second generation of its hearing glasses for adults with perceived mild to moderate hearing loss. The product, which is classed as a medical device, launched globally on September 14.

Like the first Nuance Audio glasses, the new model integrates hearing support into an ordinary-looking frame, with open-ear speakers built into the temples rather than a device worn in the ear. The original collection will remain on sale alongside the new one, with the two lines covering different technology features and price points.

EssilorLuxottica says the update brings stronger amplification, better speech clarity in noisy settings and improved perception of the wearer's own voice. Directional microphones are designed to focus on conversations in front of the user, while battery life has been extended to around ten hours, according to the company.

Users can adjust the glasses through an app, which offers two audio modes, four amplification presets, three levels of noise reduction and a five-step volume scale. The frames also carry on-frame controls and can take hands-free phone calls when paired with a compatible iPhone.

Wider range of frames

The collection has been expanded to three frame styles, 'Square 53', 'Panthos 48' and 'Upturn 52', in five colours: shiny black; shiny burgundy; deep blue; amber; and deep green. A wider range of sizes and adjustable nose pads on selected styles are intended to improve fit, and the frames can be fitted with any type of prescription lens, including Transitions lenses.

Stefano Genco, global head of Nuance Audio, said the response to the first generation had been "extremely positive". According to Genco, Nuance Audio has expanded to 14 countries and more than 18,000 stores within a year.

He added that its customers are on average five years younger than traditional hearing-aid users, and that two out of three had never explored traditional hearing aids. "With Nuance Audio Plus, our new product generation, we are taking another important step toward making hearing support a natural part of everyday life," Genco said.

Danish denim label Jack & Jones, part of fashion group Bestseller, launches the 'Find your blue' campaign for autumn/winter 2026 alongside sister label JJXX. With the campaign, both brands are returning to their denim heritage. According to the company, since Jack & Jones was founded, jeans have been the brand's foundation rather than a separate product category.

The campaign therefore presents denim not as a trend, but as a core value in the brand's identity. 'Find your blue' is not about the search for the perfect wash or fit, according to the brand, because that knowledge has been present in the company for generations. Instead, the campaign invites men and women to find the wash and cut that suits them.

Visually, the campaign opts for raw, unpolished images with an intimate tone. The denim is shown as it is worn in daily life: creased and faded, rather than in a perfect showroom setting.

Jack & Jones focuses on layering

For Jack & Jones, the campaign signifies a return to its roots, connecting the brand's denim with the history of workwear and craftsmanship. The FW26 collection ranges from heavy, structured outerwear to jeans designed to move with the wearer.

Layering is central to the collection. Under the banner 'Layers on and off', the brand presents garments that the wearer can combine, put on and take off themselves. Jack & Jones describes this idea as a way of life: feeling comfortable with who you are.

JJXX translates denim knowledge to womenswear

Womenswear label JJXX applies the same denim know-how to its own feminine collection. The emphasis is on silhouettes that are both confident and soft, and on denim that combines structure with freedom of movement.

The JJXX collection consists of tops, shirts, knitwear and jeans, with layering and personal expression also being central themes. According to the company, JJXX shares the DNA of Jack & Jones, but with its own voice.

Amid the broader implementation of the EU’s Deforestation Regulation (EUDR), Ireland has published its own proposals outlining offences, penalties and enforcement powers supporting the regulation.

French brand Lacoste presented its spring/summer 2027 collection on Sunday, October 4, 2026, on the Philippe Chatrier centre court at Roland-Garros in Paris. Titled 'Dress Code: No White Required', the collection by creative director Pelagia Kolotouros takes clay as its starting point.

For the show, the venue was covered in clay, a reference to the factory where it is produced, and the runway traced an infinity loop across the court.

Tennis history as a reference

The collection draws on the history of tennis, a sport that, according to the brand, gave fashion its first preppy codes: white, strict etiquette and grass courts. In the 1920s, champions Suzanne Lenglen and René Lacoste rewrote those rules. Lenglen played without a corset in a pleated midi skirt, while Lacoste shortened the sleeves of his shirt for lightness, comfort and speed, a gesture that gave rise to the polo shirt.

Kolotouros focuses on the moment the tennis uniform gave way to individual expression. The designer reads the court as a surface that changes during play: lines blur, clay settles on hems and sweat remains visible. These marks, which would once have been seen as imperfections, define the codes of the collection.

Fabrics treated for movement

Kolotouros continues to combine Lacoste's heritage with technical fabrics, and the preppy classics lose their rigidity. Cottons are garment dyed and enzyme washed to soften their structure, cool wool is deconstructed to become more fluid and silks are washed for a deliberately imperfect finish. Perforations in the jersey improve breathability and freedom of movement, while the tailoring follows the body without constricting it.

The runway featured deep teal coats and unstructured suits, worn loose and belted and paired with acid yellow lanyards and pendants. Oversized piqué polo shirts were layered over long sleeve technical T-shirts and combined with semi-pleated skirts.

Cobalt blue nylon tracksuits and a bright orange zip vest referenced the warm-up, while a white coat and wide trousers appeared with clay stains on the hem. Crinkled cottons and graphic T-shirts completed the offer.

Bag and sneaker inspired by the court

The collection includes two key accessories. A soft, draped bag is inspired by a 1984 photograph of the polo shirt by Irving Penn, an image that also appears on T-shirts and lanyards. Its diagonal flap mirrors the cotton piqué collar, and it comes in white, a clay gradient and mirrored silver.

The sculptural ACE-T1 sneaker, with a cage structure that evokes a taut tennis net, comes in three versions: a trainer, a wedge shaped like a tennis ball and a laced heel.

The season's palette combines sunbaked clay and mineral earth tones with touches of silver, acid yellow and cobalt blue. According to the brand, the collection returns to the idea René Lacoste had when he cut his sleeves: the freedom a uniform allows matters more than the uniform itself.