A new report launched today by two of the largest voices in retail, Spring & Autumn Fair and Faire, offers independent retailers a clear, data-backed blueprint for growth, revealing that success on today’s high street is being driven not by price, but by brand storytelling, in-store experience and community connection. At a time when many high streets remain under pressure from rising costs and shifting consumer behaviour, the Voices of Retail report shows that while 71% of independents are stable or growing, those investing in brand, experience and customer connection, are significantly outperforming their peers. With 96% of consumers calling for more independent shops, and willing to spend up to £145 more per month on their local high street if the offer improves, the opportunity for retailers to drive future success has never been clearer.

The report reveals a clear divide in approach, between retailers adapting to changing conditions and those struggling to keep pace. Independents investing in brand storytelling are 19 percentage points more likely to report growth, while those enhancing their in-store experience and sourcing locally see a further 13-point uplift compared to those in decline. In contrast, retailers competing on price are significantly more likely to be under pressure, with 45% of struggling businesses having pivoted towards lower-cost products, despite growing consumer demand for experience, quality and connection. Together, the findings point to a clear shift away from price-led competition and towards experience, differentiation and customer connection.

While many retailers are stable or growing, the report highlights a clear opportunity for more to fully capture this demand. As Katie Hughes, Marketing and eCommerce Executive at Wongs Jewellers explains, “Our campaigns are built around storytelling, creating memorable moments that drive both awareness and sales.”

The report also highlights significant regional variation, with areas such as Greater Manchester and West Yorkshire outperforming the national average, while others such as Essex face continued pressure, suggesting that local ecosystems, where retailer collaboration, events, place-making and local support come together, may be playing a role in driving growth.

This shift is strongly reinforced by consumer behaviour. More than four in five shoppers prefer independent retailers, citing personality, local impact and trust as the key factors influencing where they choose to shop, with fewer than a third prioritising price. In fact, being served face-to-face by a knowledgeable shopkeeper makes consumers 60% more likely to buy, while nearly all say they would spend more on their local high street if there were a better mix of independent retailers. Consumers are clear on what they want more of, from independent fashion, home and gifting stores to cafés, food and specialist retail, pointing to a high street shaped by experience and everyday destination visits. This is reflected in how many independents are evolving their offer, with Kitty Evans Owner, Mookau noting “If you come into the shop every week, it should look different, you should always see something new.”

Beyond individual store strategy, the Voices of Retail report highlights collaboration as one of the most underutilised growth levers on the high street. While 89% of retailers who collaborate with other local businesses report a positive commercial impact, from increased footfall to new customer acquisition, just 23% are actively doing so. This highlights a clear opportunity for retailers to unlock growth not only by working more closely with neighbouring businesses through joint events, shared marketing and community-led initiatives, but also by building connections with like-minded retailers in non-competing locations to share knowledge, ideas and best practice. As Arlene Mulligan & Orlagh McVeigh, Manager & Buyer at Donaghys explain, “We’re trying to promote the town, to get footfall into the town, not just to us.”

But success on the high street isn’t down to retailers alone. The data shows that local factors and external support play a critical role. Free parking emerges as the single most powerful lever, cited by 38% of retailers as the top intervention to unlock growth. Over two thirds of Brits (69%) said free parking should be readily available for shoppers staying under 90 minutes. As Diane Yartlett, Owner Nova Fortuny notes, “Parking is a big issue - we open later because of it.”

Charlotte Broadbent, General Manager at Faire said:

We set out on a mission to understand what’s really happening on Britain's high streets, to see if there’s more to the narrative than people think. And the reality is more encouraging. The British public doesn’t just want more independents on their high street. They want independent retailers to be their high street. Shoppers aren’t just looking for the cheapest option, they’re looking for people and places they believe in. Shopkeepers have an important role to play as our trusted experts and there’s big spending power on the table for those who get it right.

But, retailers can’t do it alone. They’re already running their business and wearing many hats. The conditions around them need to catch up. With free parking, better local support, and a high street that’s genuinely easy to visit, the infrastructure can match the demand. It’s time we backed our independents and made the high street easily accessible.”

Alongside parking, retailers are calling for stronger local storytelling, more coordinated events and improved support from councils and Business Improvement Districts, highlighting that high street performance is shaped as much by place as by individual business strategy.

With strong consumer demand and clear strategies for success, the report suggests the opportunity for independent retailers is not constrained by demand, but by execution.

Jackson Szabo, Portfolio Director, Hyve Group said: “What the Voices of Retail data shows is that the high street isn’t declining, it’s evolving. The retailers seeing growth are those giving customers a reason to visit, through experiences, events and a more personal, story-led approach.

There is also a clear divide. Retailers competing on price are more likely to be under pressure, while those investing in experience, quality and connection are pulling ahead. Collaboration is increasingly playing a role, from joint events and shared marketing to cross-store referrals, helping retailers reach new audiences and build momentum. And in regions where this is happening at scale, we’re seeing stronger growth, highlighting the importance of local ecosystems.

The opportunity is there, but it’s those adapting their offer and thinking beyond the transaction who are seeing the strongest results.”

The findings are echoed by independent retailers on the ground, many of whom are already shifting their approach to focus on connection, storytelling and experience rather than price competition.

Key findings from the Voices of Retail report

Taken together, the findings point to a clear playbook for independent retailers:

Retail performance and growth

• 71% of independent retailer report stable or growing trade, of which 86% are reporting growth of 20%+

What’s driving growth (and decline)

• Retailers investing in brand storytelling are 19 percentage points more likely to grow
• Improving in-store experience and local sourcing each deliver a 13-point uplift
• 45% of declining retailers have pivoted towards lower-price products, highlighting the risks of competing on price

Consumer demand and opportunity

• Over 80% of shoppers prefer independent retailers over chains, particularly in categories such as fashion, homeware, gifting and specialist food, where personality, quality and discovery are key drivers.
• Consumers are willing to spend up to £145 per month on their local high street if there is greater variety, highlighting the significant untapped spend available to independent retailers if they align with consumer demand.
• Face-to-face interaction makes shoppers 60% more likely to buy

Collaboration and community

• 89% of retailers who collaborate report a positive commercial impact
• Yet only 23% are actively collaborating today
• 83% say they want to collaborate more, pointing to a major untapped opportunity

Local high street levers

• 38% of retailers say free parking is the single most important intervention
• 63% of consumers say free parking would increase visits
• Retailers also call for stronger local marketing, more events and improved council support

Future priorities for retailers

• While 71% of independent retailers report stable or growing trade, only 28% are actively investing in growth, pointing to a clear gap between current performance and future potential.
• 53% prioritise online growth alongside physical retail
• 52% focusing on marketing and brand storytelling
• 40% planning more events and in-store experiences

What this means for retailers

In practical terms the report highlights five clear actions for retailers:

• Differentiate through brand, storytelling and product curation. Change your displays regularly and tell the story behind what you sell.
• Invest in experience-led retail, including events, in-store engagement and personal recommendations that give customers a reason to visit.
• Collaborate with neighbouring businesses to increase footfall. Even one joint event or shared promotion can open up new customers.
• Align with consumer demand for independent fashion, homeware, gifting and specialist food by actively sourcing distinctive products.
• Focus on value beyond price. Curate collections worth paying full price for rather than discounting to compete.

With strong consumer appetite for independent retail, the report highlights a clear opportunity for retailers to adapt their strategies and capture increased spend.

The Voices of Retail Report is available to download now with case studies on the website.

Salesforce is the heart of modern customer relationship management.
FIRE is the operational engine of wholesale sales.

Together, they are not two systems.
They form one integrated revenue architecture.

Many fashion brands successfully use Salesforce as their CRM.
Accounts are structured.
Opportunities are tracked.
Forecasts are transparent.
Customer histories are documented.

But in wholesale, CRM alone is not enough.

What is missing is operational sales execution:
Preorder.
Order management.
Reorder.
Digital showroom.
Sell-out intelligence.

This is where FIRE works seamlessly with Salesforce.

Learn more about the integration:
https://www.fire-digital.com/en/products/products/b2b-portal

What Is the Right B2B Portal for Salesforce?

Many companies ask:
What is the most suitable B2B portal for Salesforce?

Salesforce is a powerful CRM system.
But Salesforce is not a specialised wholesale B2B portal designed for:

• Digital collection presentation
• Structured preorder processes
• Variant and size matrix logic
• Wholesale order workflows
• Intelligent reorder management
• Sell-out integration

A suitable B2B portal for Salesforce must integrate CRM data while enabling real sales execution.

FIRE fulfils exactly this role.
FIRE does not operate beside Salesforce.
FIRE operates with Salesforce.

Salesforce Manages Relationships. FIRE Manages Revenue.

Salesforce structures:

• Leads
• Accounts
• Opportunities
• Pipeline
• Forecasts
• Activities

FIRE structures:

• Collections
• Assortments
• Preorder workflows
• Order execution
• Reorder logic
• Sell-out performance

Salesforce knows which account has potential.
FIRE converts that potential into measurable revenue.
Only together do they create a complete wholesale sales process.

A Closed Revenue Loop

With Salesforce + FIRE, the process becomes:
Lead in Salesforce
Opportunity
→ Transfer to FIRE
→ Digital collection presentation
→ Structured preorder
→ Order creation
→ Reorder intelligence
→ Sell-out feedback
→ CRM optimisation

Pipeline meets performance.
Forecast meets reality.
CRM and operational sales execution work synchronously.

Native Integration – No Parallel Data Worlds

Salesforce remains the single source of truth for:

• Accounts
• Contacts
• Activities
• Opportunity status

ERP systems remain the single source of truth for:

• Pricing
• Availability
• Inventory
• Conditions

FIRE integrates via configurable middleware and synchronises:

• Customer master data
• Organisational structures
• Forecast data
• Order status
• Performance indicators

No shadow master data.
No double maintenance.
No disconnected B2B systems.

FIRE activates Salesforce.
It does not replace it.

Why Generic B2B Portals Are Not Enough for Salesforce

Most standard B2B portals are transaction-driven.
Wholesale is sales-driven.

Generic portals are:

• Catalogue-based
• E-commerce-focused
• Not built for preorder cycles
• Not optimised for variant logic
• Not structured around seasonal collections

Wholesale requires:

• Emotional collection storytelling
• Structured preorder conversations
• Intelligent reorder management
• Sell-out-based steering

FIRE was built specifically for this wholesale reality.

Not as a shop.
But as a sales system.

The Wholesale Memory Engine™

FIRE does not only capture orders.
FIRE structures the entire customer-level sales behaviour:

• Presented styles
• Clicked variants
• Selected products
• Rejected items
• Reorder patterns
• Sell-out dynamics
• Decision cycles

This creates structured behavioural data.

That data enables:

• Predictive forecasting
• Intelligent reorder recommendations
• Data-driven account prioritisation
• AI-supported assortment optimisation
• Early revenue risk detection

FIRE makes Salesforce AI-ready in operational wholesale.

Real Example: Salesforce + FIRE in Practice

An international fashion brand had been using Salesforce for years.
CRM processes were structured.

But wholesale execution was fragmented:

• Collection presentations in PowerPoint
• Preorders in Excel
• Reorders via email
• Manual performance reporting

Pipeline and actual order performance diverged.

After implementing FIRE:

• Opportunities flowed directly into structured preorder workflows
• Sales teams worked in a digital showroom
• Reorder suggestions were based on real sell-out data
• Performance automatically flowed back into Salesforce

Salesforce remained the CRM.
FIRE became the operational revenue engine.

Measurable Business Impact

Within 12 months:

Business Impact

• +8–12% higher preorder conversion
• +10% improved reorder rate
• –30% reduction in manual coordination
• Faster decision-making cycles

Strategic Impact

• Significantly improved forecast accuracy
• Full transparency between pipeline and performance
• Structured behavioural customer data
• AI-ready sales architecture

CRM evolved from reporting tool to active revenue steering system.

Strategic Urgency: Sales Data Is Created Only Once

Wholesale sales data is generated in the moment of interaction.

If preorder and reorder processes are not structured:

• Behavioural data is lost
• AI potential remains unused
• Forecasting remains subjective
• Competitive advantage erodes

This data cannot be reconstructed retroactively.
Every season without a structured sales layer means lost intelligence.

Salesforce captures relationship data.
FIRE captures sales behaviour.
Together, they build a learning organisation.

Scalable Beyond Fashion

Although FIRE originated in fashion wholesale, its architecture applies to any industry with:

• Complex assortments
• Variant logic
• Seasonal sales cycles
• Reorder dynamics
• Distribution networks

Such as:

• Consumer goods
• Footwear
• Lifestyle brands
• Beauty
• Home & interior
• Technical B2B manufacturers
• Industrial distributors

The need is not defined by industry.
It is defined by sales complexity.

Executive Summary: The 5 Strategic Advantages

1. Salesforce evolves from CRM to revenue system.
2. Preorder and reorder processes become structured instead of improvised.
3. Forecasts are based on real performance, not pipeline assumptions.
4. AI operates inside the sales process, not only in reporting.
5. Wholesale digitalisation becomes independent of CRM or ERP transformation.

FAQ – Salesforce B2B Portal for Wholesale

Is Salesforce a complete B2B portal for wholesale sales?
No. Salesforce is primarily a customer relationship management system. It manages leads, accounts and opportunities, but it is not designed to run structured wholesale sales workflows such as digital showrooms, preorder processes or reorder management.

Why do companies using Salesforce need a wholesale B2B portal?
Companies often use Salesforce to manage pipeline and customer relationships. However, wholesale sales execution requires specialised capabilities such as collection presentation, variant selection, preorder workflows and order creation. A dedicated B2B portal complements Salesforce with these operational sales functions.

How does FIRE integrate with Salesforce?
FIRE connects to Salesforce through middleware-based integration. Customer data, opportunities and performance indicators are synchronised between systems, allowing sales teams to manage relationships in Salesforce and execute wholesale sales processes in FIRE.

What advantages does a Salesforce and B2B portal integration provide?
When Salesforce and a wholesale sales platform work together, pipeline management and order execution become connected. Opportunities can move directly into structured preorder workflows and real sales performance data flows back into the CRM.

Can FIRE work alongside existing Salesforce implementations?
Yes. FIRE is designed to complement Salesforce without replacing it. Salesforce remains the central CRM system, while FIRE operates as the operational wholesale sales platform connected to it.

Does FIRE support AI-driven wholesale sales insights?
Yes. FIRE captures behavioural sales data such as product interactions, assortment decisions and reorder patterns. This structured dataset can support AI-driven forecasting, demand analysis and sales optimisation.

Conclusion

Salesforce alone is CRM.
FIRE alone is wholesale execution.
Together, they form a revenue system.

CRM meets operational intelligence.
Pipeline meets performance.
Forecast meets reality.

Salesforce + FIRE work as one.
And transform customer relationships into measurable growth.

About FIRE

FIRE is the leading wholesale sales, preorder, reorder and B2B platform for fashion brands and other B2B-driven industries.

FIRE was built as a wholesale sales layer between CRM, ERP and market execution.
It combines digital showroom presentation, structured preorder and reorder workflows, performance analytics and AI-powered recommendations into one integrated platform.

Middleware-based.
Upgrade-safe.
No data replication.
AI-ready.

Learn more:
https://www.fire-digital.com

EssilorLuxottica on Wednesday announced that consolidated revenue for the first quarter of 2026 reached 7,127 million euros, representing a year-on-year increase of 10.8 percent at constant exchange rates compared to 6,848 million euros in the first quarter of 2025.

Revenue grew 4.1 percent at current exchange rates.

Professional Solutions recorded revenue of 3,362 million euros, up 10.8 percent compared to the first quarter of 2025, while Direct to Consumer recorded revenue of Euro 3,764 million, up 10.7 percent.

Francesco Milleri, Chairman and CEO, and Paul du Saillant, Deputy CEO at EssilorLuxottica, commented: "With the third consecutive quarter of double-digit growth, we once again demonstrate the strength and relevance of our strategy and our ability to deliver against it. We continued to drive robust momentum across all regions and businesses, driven by the enduring solidity of our vision care and eyewear activities and a steady pipeline of innovation."

Looking forward, the company said that over the next five years, it is planning to deliver a solid growth of its total revenue and a broadly aligned growth of the adjusted operating profit.

IED Milano has introduced artificial intelligence into its fashion curriculum through a new partnership with Modelia, reflecting a broader shift in how digital tools are being integrated into design education.

The collaboration sees Modelia’s platform incorporated into the second-year Fashion Design programme, where students are using AI to translate creative concepts into fully realised visual outputs. The initiative includes a 20-hour seminar focused on AI in fashion, combining early-stage ideation tools such as ChatGPT and Gemini with Modelia’s production capabilities to create digital runway presentations.

According to the institution, the aim is to address a growing challenge for emerging designers: not only generating ideas but presenting them with a level of visual execution that meets industry expectations. By using AI tools, students can develop and refine concepts into professional-standard imagery, even when working with experimental or unconventional designs.

AI as a support tool

The programme positions AI as a support tool rather than a replacement for creativity. As noted by faculty member Paola Pinna, the technology enables students to realise complex ideas more effectively, while still relying on original thinking and design direction.

For educators, the initiative highlights a wider trend toward embedding AI literacy into fashion training. With visual communication and speed of production becoming increasingly central to the industry, tools like Modelia are being framed as part of the evolving skill set required for future designers.

The partnership also reflects a strategic alignment between education and industry, as institutions such as IED Milano—part of a broader international network of design schools—seek to prepare students for a sector where AI is becoming a practical component of workflows, from concept development to campaign creation.

Parisian flair meets contemporary expression as Scoop returns to Olympia National from 19–21 July 2026, unveiling a refined edit of French designers whose collections capture the spirit of modern elegance. This season, the spotlight turns to a new wave of French creativity, where heritage craftsmanship, artistic sensibility and a distinct sense of art de vivre converge, offering buyers an immersive journey shaped by movement, escape and effortless style. Carefully curated by Founder and Creative Director Karen Radley, the selection brings together designers who embody both individuality and enduring appeal, reflecting a fresh, expressive energy that resonates across international markets.

At the heart of this season’s showcase is a thoughtfully curated collective of French designers whose work speaks to both tradition and reinvention. From expressive jewellery to refined ready-to-wear, each collection brings a distinct perspective shaped by craftsmanship, materiality and an intuitive understanding of modern dressing.

Julie Sion introduces a richly expressive universe, where jewellery becomes a form of storytelling, bold, sculptural and imbued with colour and character. Handcrafted in Paris, her pieces balance artistry with wearability, offering buyers something truly distinctive. Reflecting on their return to Scoop, Sion shares: “The entire Julie Sion team is delighted to be part of Scoop… we were very drawn to its energy, as well as the genuine interest Karen shows towards French designers. The place she gives to our work is something we truly appreciate.” As the designer looks to expand further into the UK, she notes the natural affinity with the British market, adding that their “colourful universe seems to resonate particularly well with this audience,” making this season’s showcase a timely and exciting moment of connection.

Elsewhere, Aurege presents a study in quiet sophistication, where refined materials and clean, architectural lines create accessories of understated elegance, pieces designed to integrate effortlessly into a modern wardrobe while offering a subtle point of distinction.

Gallego Desportes brings a deeply personal perspective to the season, shaped as much by place as by process. Based in Vannes, a coastal town defined by its soft, golden light, the collection reflects a sense of calm, lived-in elegance. Founded by partners who began creating garments together as students, the label has evolved organically, rooted in an intuitive approach to design and a belief in clothing that feels both purposeful and enduring. Balancing Parisian ease with precise construction, each piece carries a quiet strength, designed for women whose individuality and independence define their style.

Travaux en Cours explores the dialogue between function and form, delivering contemporary pieces with a purposeful, almost industrial clarity, grounded in craftsmanship and designed for everyday wear.

A spirit of escape emerges through Pret Pour Partir, where travel becomes both inspiration and intention. Rooted in a philosophy of movement and lightness, the collection offers versatile, easy-to-wear pieces designed for life in transit, effortless silhouettes that transition seamlessly from city to coast. With its emphasis on practicality without compromise, the collection captures a modern sense of freedom that resonates strongly with today’s consumer.

Heritage and authenticity underpin collections from Le Temps des Cerises and Mat de Misaine, both of which draw on rich French textile traditions while reinterpreting them for a contemporary audience. For the season ahead, Mat de Misaine evokes a spirit of coastal escape, where effortless nautical style meets a relaxed, post-regatta ease. Lightweight layers, natural fabrics and subtle stripes come together in a wardrobe designed for movement, leisure and quiet moments by the sea, capturing a refined art de vivre that feels both timeless and transportive. Reflecting on their presence at Scoop, Simone Meyer, Export Manager at Mat de Misaine, notes the show’s “curated audience” and “refined, directional identity,” highlighting its ability to foster meaningful connections while elevating collections within a premium, design-led environment.

Karen Radley said, “French design has a unique ability to feel both effortless and intentional, there is always a sense of lifestyle behind the collections. This season, what I love is the feeling of escape and individuality each designer brings, whether through craftsmanship, colour or the way the pieces are worn. Together, they create a beautifully balanced edit that feels inspiring, modern and very relevant for our buyers.”

Together, these designers form a cohesive yet expressive narrative, one that reflects the evolving language of French fashion today, shaped by a shared sense of movement, lifestyle and modern elegance. Their presence at Scoop not only reinforces the show’s commitment to international discovery but also highlights its growing relevance as a destination for French designers seeking to connect with the UK and beyond.

As the July edition unfolds, this French showcase becomes more than a moment of discovery, it is a celebration of creativity, craftsmanship and cultural exchange. In an environment shaped by curation and intention, Scoop once again creates space for meaningful connections, where designers and buyers come together through a shared appreciation for beauty, individuality and enduring style.

For more information, visit the website.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereafter, YKK) has received the Red Dot Award in the Product Design category for its 3D Composite Puller. The award is presented by Red Dot GmbH & Co. KG.

Established in 1955, the Red Dot Award, based in Germany, is one of the world’s most renowned design competitions. An international jury of approximately 40 experts evaluates entries in three disciplines: Product Design, Brands & Communication Design, and Design Concept.

Overview of Award-Winning poducts

3D Composite Puller: The 3D Composite Puller combines YKK’s expertise in zipper technology with Variloom’s on-demand 3D printing and molding system. Utilizing Variloom’s recyclable bio-based TPU and 3D printing process, this product eliminates traditional molding requirements and the constraints of high minimum order quantities (MOQs).

It enables customization of shape, texture, attachment style, color, and logo—features that are difficult to achieve with conventional 3D composite puller injection molding—offering brands and designers new possibilities in both functionality and aesthetics.

Comment from Yasuhiro Sato, Vice President, Product Strategy Division

This award is regarded as recognition of YKK’s ongoing efforts to create new value, which have now been highly evaluated from a design perspective. YKK will continue to combine technology with creative thinking to bring new possibilities to people’s lives, while contributing to the sustainable development of the textile industry.

UK online retailer Asos has announced its interim results for the 26 weeks to March 1, 2026, revealing a 14 percent drop in first-half revenue to 1.12 billion pounds and a 137.9 million pounds statutory loss before tax despite a significant 51 percent increase in adjusted EBITDA.

The report highlights a period of structural recalibration, where improved profit margins and customer acquisition strategies have begun to offset a decline in overall gross merchandise value (GMV).

Resilience against external pressures and outlook

The group faced 7 million pounds in costs related to the International Emergency Economic Powers Act (IEEPA) tariffs in the US. Despite this, management noted that swift mitigation strategies protected service levels in the region. Asos has initiated a process to pursue refund claims regarding these tariffs.

Operational agility was also tested by the conflict in the Middle East. The group utilised increased near-shore supply and a flexible logistics network to mitigate inflationary impacts and supply chain disruptions.

The group has maintained its FY26 guidance, expecting AEBITDA between 150 million pounds and 180 million pounds. Gross margin is projected to improve by at least 100 basis points, reaching a range of 48 percent to 50 percent. Management indicated that current trading in the third quarter (Q3) shows further sequential improvement. The womenswear business has entered positive YoY growth, and recent collaborations, such as the third drop with German sportswear brand Adidas, have delivered record performance.

Asos GMV declines by 9 percent

The group reported a 9 percent year-over-year (YoY) decline in GMV, though underlying data suggests a recovery is underway. The UK market outperformed the broader group with a 5 percent decline in GMV YoY, while the womenswear division saw its GMV growth rate improve by approximately 10 percentage points compared to the second half of the 2025 financial year (FY25).

Adjusted gross margin rose by 330 basis points YoY, marking eight consecutive quarters of improvement. Additionally, profit per order increased by 30 percent YoY, driven by more rigorous cost management and a transparent returns policy that improved the underlying returns rate by 160 basis points.

For the first time since September 2021, Asos recorded positive growth in new customers. In March 2026, new customer acquisition rose by 9 percent for the group. In the UK specifically, new customers increased by approximately 10 percent YoY. The customer database has also shown signs of stabilisation, with churn reducing by 150 basis points during the first half (H1).

Nedap, a leader in item-level inventory visibility, today announced a partnership with VF Corporation, a global leader in apparel, footwear and equipment whose portfolio of iconic active and outdoor lifestyle brands includes The North Face®, Vans® and Timberland®. As part of the collaboration, VF Corporation will deploy the Nedap Inventory Engine across its brand portfolio and 1,500+ stores, creating a stronger foundation for end-to-end inventory visibility and more seamless, data-driven retail operations.

The deployment starts in Q2-2026 with The North Face and will expand to additional VF brands over time. With brands rooted in performance, elevated design and innovation, VF serves consumers worldwide across outdoor, active and workwear lifestyles.

Building a Unified View of Stock

The partnership supports VF’s ambition to create a single view of stock, built on a single, trusted view on inventory across its operations. With the Nedap Inventory Engine, VF aims to enhance stock accuracy, improve product availability and strengthen omnichannel performance across all regions.

In addition to the store rollout, VF has expanded the initiative into its distribution channels, enhancing visibility and supporting efforts to address grey-market activities and strengthen brand protection.

“Our consumers expect the same level of product availability and service whether they shop online, in-store or through any of our brand touchpoints,’ says Carsten Trenz, VP of Digital at VF Corporation. “Unified visibility across our operations allows us to deliver that consistency and build long term customer loyalty.”

Hope Waldron, VP of Supply Chain Strategy, VF Corporation adds: “Extending our RFID program beyond stores to include distribution centers and vendor partners at the source gives us greater transparency across our entire supply chain. That visibility improves our ability to ensure product availability, strengthen brand protection, and deliver a more consistent consumer experience.”

Why VF Chose Nedap

VF selected Nedap following a successful pilot using an alternative solution, after which the company reassessed its long-term requirements for scalability, architecture and global support. Nedap was chosen based on:

• The most robust, innovative and future-proof platform architecture
• A proven track record of guiding and advising organizations through complex rollouts at scale
• A user community that drives continuous improvement and shared innovation across leading retailers

“In today’s retail landscape, unified commerce only works when brands can rely on one consistent source of truth for their inventory,” says Hilbert Dijkstra, Managing Director Retail at Nedap. “VF’s decision to invest in end-to-end visibility reflects a clear vision for the future: the ability to serve consumers seamlessly across any channel. Through ongoing innovation of our platform, we help VF operate with confidence, agility and precision.”

Madrid – Accompanied by his muse, Spanish model, presenter and entrepreneur Nieves Álvarez, French couturier Stéphane Rolland enchanted Barcelona with a show of his latest bridal and eveningwear creations. The collection was presented on Wednesday evening as part of Barcelona Bridal Fashion Week 2026, set to the music of Manuel de Falla and Mendelssohn's Wedding March.

The event was a key highlight on the official calendar of the international bridal fashion trade show in Barcelona. The catwalk programme runs from Wednesday, April 22 to Friday, April 24, followed by the trade show from April 24 to Sunday, April 26. As is tradition, the opening day of this year's Barcelona Bridal Fashion Week (BBFW) was crowned by its Barcelona Bridal Night. This year's evening was particularly commemorative, with French designer Stéphane Rolland given the honour of marking the event's tenth edition. The Barcelona Bridal Night is designed not only to celebrate the opening of each new BBFW, but also to feature leading industry figures who receive a special invitation to headline these unique evenings.

The event marked not only Rolland's debut on the BBFW calendar, but also the French designer's first show in Spain. According to the organisers, it drew more than one thousand guests. Attendees included notable figures such as Athina Onassis; Spanish actresses Candela Peña, María Bernardeau and Najwa Khliwa; and models Judit Mascó and Verónica Blume. They gathered at Pavilion 8 of the Montjuïc Exhibition Centre to witness Stéphane Rolland's debut show in Spain. The presentation began with a welcome message from Albasarí Caro, director of Barcelona Bridal Fashion Week. It concluded with a speech from the French couturier himself, who emphasised that the show was not only about presenting his latest bridal creations, but also about providing a platform to support the growth of new talent in both fashion and music.

“It has been a privilege to have Stéphane Rolland at this very special edition of Barcelona Bridal Night,” said Albasarí Caro, director of the BBFW, in a statement shared by the event's management. Caro added that it is important to recognise “his unique and deeply artisanal vision, which understands fashion as an artistic expression and a complete sensory experience, capable of integrating creation, emotion and space.”

“Bridal fashion speaks of hope, joy and life, which is why we wanted to open the show to young talent in fashion and music,” said the French couturier, referring to the show, which was designed and presented under the title “Love for Peace.” “It is a message of transmission, of positivity, and a yes to life, to the future and to love,” Rolland emphasised about the spirit behind the presentation's name. He closed the show alongside his “Spanish muse,” model Nieves Álvarez, and Albasarí Caro.

Haute couture and new talent

The philosophy behind Rolland's show, which lasted over an hour and a half during this commemorative tenth edition of the Barcelona Bridal Night of BBFW, was both inspiring and poetic. Three key elements defined the unforgettable evening in Barcelona. Firstly, the French couturier's own Haute Couture creations were central. Rolland actively sought to create a dialogue between his designs and the new fashion sensibilities of emerging designers. The third protagonist of the night was the musical sensitivity of emerging local talent. This combination highlighted two things: the French couturier's creative vision and his holistic understanding of Haute Couture, which transcends the boundaries of fashion. Secondly, it showed how Rolland, far from being a barrier, strives to be a gateway, providing access and support to new creatives from all artistic disciplines that gravitate around his fashion house.

Delving into the role of each of the three 'main actors' of this tenth edition of the Barcelona Bridal Night, the musical discipline was key. It added a high degree of drama to the entire presentation and to Rolland's designs. The Barcelona Youth Symphony Orchestra (JOSB) set the pace and rhythm of the show. The group, composed of 65 promising new musicians and conducted by Carlos Checa, performed classical compositions by Chopin, Debussy, Bach and Vivaldi. Actress Nathalie Poza recited poems and lyrics by Carlos Gardel and Édith Piaf. The orchestra also played works by Jules Massenet, Jacques Offenbach, Joaquín Rodrigo and Manuel de Falla, culminating in Mendelssohn's traditional Wedding March. This piece accompanied the grand entrance of a large profiterole wedding cake, a dessert created for the occasion by Barcelona-based pastry shop Lolita Bakery to celebrate this commemorative edition of the Bridal Night.

Focusing on the designs presented on the catwalk, the show opened with 23 creations by fashion students from Barcelona's design schools: IED Barcelona, LCI Barcelona and ESDI. This series of bridal designs was developed as the centrepiece of the 'Sculpted by Nature' project, under the direct mentorship of Stéphane Rolland himself. This initiative to promote new talent also involved the Catalan textile company Gratacós, which provided the fabrics used to create the various designs that opened Rolland's show at the Bridal Night.

After this 'opening', which the French couturier made sure to dignify and highlight with a specific reference to the student collaboration at the end of the show, the Haute Couture designer's magical bridal creations took to the stage. Rolland, a full member of each new edition of Paris Haute Couture Week, chose Barcelona, and Spain for the first time, to present a carefully curated selection of 80 creations. The designs included his new ready-to-wear bridal collection 'Noce de Sang', as well as a selection of iconic Haute Couture dresses representing his career as a couturier. Rolland's journey began at the age of just four, when his first sketches revealed his early calling for fashion. He ultimately established himself in the discipline with the founding of his own Haute Couture house in 2007.

An equally brilliant line-up of models showcased his bridal and Haute Couture creations on the BBFW Bridal Night catwalk. The models included Ariadna Gutiérrez; Laura Sánchez; Davinia Pelegrí; Marta Ortiz; Mercedes Muñoz; Madeleine Hjort; Bárbara García; and Nieves Álvarez. The French couturier's Spanish muse, Álvarez, closed the show in a black Haute Couture design with a white bodice detail. This voluminous and baroque creation gave way to the presentation of the grand 'wedding cake' and the closing remarks from Caro and Rolland. Caro thanked all the attendees, Rolland, and the design students who participated in the show for contributing to this 'wonderful night for Barcelona' where 'fashion, art, poetry and music are made'. Rolland did the same, thanking Caro, the attendees, the organisation, and the 'magnificent' orchestra.

“We did this show to talk about legacy, about the new generations; and here you have the new generations on stage, with the musicians, and with the new generations of designers,” Rolland declared, microphone in hand, to the show's guests. “That is why we are very proud and happy to celebrate this tenth edition of the Bridal Night with all of you, thank you very much,” the French couturier concluded his speech at the end of his Barcelona show. As the latest guest designer at the BBFW Bridal Night, Rolland follows in the footsteps of equally renowned designers and fashion houses such as Houghton (2015); Naeem Khan (2016); Angel Sanchez (2017); Reem Acra (2018); Marchesa (2019); Viktor&Rolf (2022); Elie Saab (2023); Giambattista Valli (2024); and Vivienne Westwood (2025).

Stéphane Rolland's show at Barcelona Bridal Night 2026

Denim Première Vision Milan 2026 will return to Superstudio Più on May 20–21, bringing together industry professionals, educators and students to explore developments shaping the global denim sector and upcoming Autumn/Winter 2027–28 trends. Held under the patronage of the Municipality of Milan, the ninth Milan edition aims to combine sourcing, education and research-driven dialogue relevant to fashion teaching and curriculum development.

More than 60 exhibitors from across the international denim supply chain are expected to participate, with strong representation from Italy and Japan. The line-up includes returning companies such as Cone Denim and Arvind Limited, alongside first-time participants including Jawaid Bross. Organisers note that the sourcing offer will span mills, garment makers and suppliers of accessories, technologies and services, providing insight into the full production ecosystem.

Education-focused programming is central to this edition, particularly through collaboration with Istituto Marangoni. Technical sessions hosted by exhibitors such as Isko Luxury by PG, Advance Denim, Officina39 and Tonello will take place within the school environment, while students will present research projects at the exhibition. A student presentation by Lolie Bernard, titled “What if this was enough?”, is scheduled for May 21 and will explore themes of authenticity and emotional honesty in design.

Sustainability and circularity are also key themes, highlighted through collaboration with the Centre for the Promotion of Imports from Developing Countries on the “Circular Apparel Tunisia” initiative, which supports Tunisian companies transitioning to circular production models aligned with European standards. Another project, “Redefining Blue,” developed with Chloris, will present developments in bio-based dyeing technologies, including the Claessen Blue dye, alongside research findings shared during a panel discussion. The event will also pay tribute to the late Adriano Goldschmied, with collections created for Pioneer Denim in collaboration with Soko displayed in a dedicated area. Organisers describe the showcase as highlighting approaches to sustainable denim development and craftsmanship.

For educators, the Denim Trends Forum and conference programme offer structured insights into future design directions and technological developments. Sessions include forecasting presentations by Amy Leverton of Denim Dudes, discussions on worldbuilding in fashion with Shanu Walpita and Cait Monahan from Hypebae, and seminars from the Première Vision fashion team.

Additional initiatives such as the “Underrated Project,” developed with designer Kristian Guerra, will present experimental denim garments exploring hybrid materials and evolving silhouettes. Together with trend forums and technical showcases, the programme positions the event as a learning environment for educators seeking to integrate sustainability, innovation and supply-chain knowledge into fashion curricula.

The European textile and clothing industry contracted for the third consecutive year in the 2025 financial year, according to the annual report from industry association Euratex. The report documents a continued decline in production, employment and confidence within the sector.

The report shows that production volumes fell further in 2025. Textile production decreased by 1.6 percent, while clothing production showed a sharper decline of 4.5 percent compared to the previous year. In the fourth quarter, sales stabilised somewhat compared to the third quarter. However, on a year-over-year basis, there was still a decline of 1.1 percent for textiles and 1.9 percent for clothing. The largest declines in textile production were recorded in Spain at 17 percent; Croatia at 8.3 percent; and Germany at 7 percent.

Imports decrease as trade deficit narrows

In international trade, the European Union's trade deficit decreased, meaning the gap between imports and exports narrowed. In the fourth quarter, imports from non-EU countries fell by 8.1 percent in value. This was linked to lower energy prices and weak domestic demand. Imports of textiles and clothing from outside the EU fell by 11 percent and 7.2 percent respectively, between October and December.

Employment shrinks amid national differences

The downward trend also continues in employment. In the fourth quarter of 2025, the number of jobs in the textile sector fell by 4.8 percent and in the clothing sector by 1 percent year-over-year. Compared to the pre-pandemic period, employment has decreased by 14 percent in textiles and 16 percent in clothing. According to Euratex, factories in Europe are closing weekly.

The development varies by country. In the clothing sector, employment increased in Spain by 28 percent; the Czech Republic by 11 percent; and Denmark by 6 percent. Meanwhile, countries including Croatia, Poland and Lithuania saw declines.

Confidence falls due to lack of new orders

Confidence within the sector remains low. In March 2026, the confidence indicator fell by 2.7 points in the textile sector and by 0.9 points in the clothing sector compared to the previous month. According to Euratex, companies have too few new orders and the production outlook is worsening. The organisation is calling on the European Commission and member states to take measures before the end of 2026, including lowering energy costs and reducing regulatory pressure.

Anna Nilsson, Program Leader for the MA Fashion Beauty & Communications at Vogue College of Fashion, reflects on her global career across editorial, advertising and brand storytelling.

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

My career in fashion started in editorial at French Vogue when I was still studying for my degree in fashion design. This gave me a complete introduction to the industry. I began as a stylist assistant in Paris and later became a stylist. I then progressively moved into roles such as fashion director and editor-in-chief for different publications.

Throughout the years I was also freelance for several different magazines including Vogue International, ELLE International and Harper’s Bazaar International.

Very early on I was responsible for conceiving and producing full fashion stories, working closely with photographers, art directors and journalists. One of the moments that stayed with me was realizing how much coordination and trust is required behind a single published image, it taught me that fashion is fundamentally collaborative.

At the same time I was styling advertising campaigns for major brands and working with international agencies. This exposed me to brand strategy and the importance of consistency between creative vision and commercial objectives. It made me understand that fashion is not only about trends but about identity and communication.

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

Throughout my career I have worked across several sides of the fashion industry, editorial, advertising, talent representation and public relations and this breadth has strongly influenced how I approach my role as a course leader at Vogue College.

Working as a Fashion Editor, Fashion Director and Editor-in-Chief taught me how to analyze trends, understand audiences and build a clear narrative around a fashion concept. Producing fashion stories required managing creative teams, setting deadlines and making final editorial decisions which developed my ability to mentor, guide and give constructive feedback. Today I apply the same approach with students: I encourage them to justify their creative choices, think critically and understand the intention behind every image, styling decision or written piece.

My experience in advertising and styling for brands such as Louis Vuitton, Burberry and Lancôme gave me a strong understanding of brand identity and commercial objectives. As a result I emphasize to students that creativity in fashion always exists within a professional context. I teach them how to adapt their ideas to a brief, a client and a target consumer and how to balance artistic vision with practical constraints.

Founding a talent agency and later establishing a French PR subsidiary developed my entrepreneurial and strategic skills negotiating, positioning creatives, building networks and communicating effectively with different stakeholders. These experiences shape my teaching by preparing students for the realities of the industry: collaboration, professionalism, time management and communication are as important as creativity. Overall my career has given me a holistic understanding of the fashion ecosystem.

As a course leader I aim to help students not only produce creative work but also understand how the industry functions, how careers are built and how to position themselves within it.

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

What excites me most about teaching the next generation of fashion and luxury professionals is helping students understand that fashion is not only about aesthetics but about ideas, culture and communication.

Having worked across editorial, advertising, talent representation and public relations, I have seen how many different skills are required to build a career in this industry. Students often arrive with creativity and enthusiasm but not always with a clear understanding of how the industry actually functions. I find it particularly rewarding to guide them in connecting their creative instincts to professional realities how to respond to a brief, how to collaborate with others and how to position themselves within a competitive environment.

I am also motivated by helping students discover their individual strengths. During my career I worked with photographers, stylists, journalists and brands at very different stages of development and I learned that success rarely comes from imitation; it comes from clarity of identity and consistency. In teaching I aim to help students develop confidence in their point of view while understanding the expectations of the luxury sector.

Finally, what inspires me is seeing students realize that fashion is a global industry built on relationships, professionalism and communication. Preparing them not only to create but to think critically, adapt and work collaboratively is what makes teaching particularly meaningful to me.

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

What I find most compelling right now is that fashion and luxury feel like they’re in a moment of self-examination. It’s less about hemlines or “what’s trending” and more about a deeper recalibration of values of what luxury means, who it’s for and how it justifies itself in a more conscious, culturally fluid world.

For a while we saw the dominance of “quiet luxury” amplified by shows like Succession and brands such as Loro Piana and The Row. What interests me now is how that aesthetic is evolving. Minimalism was initially positioned as a rejection of overt status signaling but it quickly became codified itself. The conversation seems to be shifting from how something looks to what it represents craft, traceability, longevity. I find that move from aesthetic discretion to value-driven discretion particularly compelling.

At the same time luxury’s sustainability reckoning feels unavoidable and necessary. Large groups like Kering and LVMH are being pushed to move beyond storytelling into measurable accountability. What’s fascinating is how consumer literacy has evolved. The growth of resale platforms signals a shift in how we think about ownership and value. Pre-owned luxury now carries cultural and even ethical capital which fundamentally challenges the industry’s long-standing obsession with newness.

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

If I could sit in on my own MA Fashion & Beauty Communication class as a student, I would be most excited to explore how deeply history shapes the way fashion and beauty communicate today and how understanding the structure of the industry changes the way we tell its stories.

Fashion and Beauty can sometimes feel relentlessly future-facing, obsessed with what’s “next.” But so much of its visual language, its hierarchies, even its definitions of luxury are rooted in history. The codes we associate with heritage houses like Louis Vuitton or the disciplined craftsmanship of Hermès didn’t emerge in a vacuum they’re the result of specific economic, social and colonial histories. As a student I’d want to interrogate how those legacies continue to inform contemporary branding and desirability.

Beyond history I would be excited to unpack how the industry actually functions. Who holds power within conglomerates? How do supply chains shape storytelling? How do financial pressures influence creative decisions? When someone like Pharrell Williams steps into a major creative role, the narrative is cultural but it’s also strategic. As a student I’d want to understand both the symbolism and the business rationale behind such appointments.

To me strong fashion and beauty communication doesn’t exist in isolation from industry knowledge. It requires understanding production timelines, retail structures, media ecosystems and global markets. Without that context, storytelling risks becoming surface-level. With it communication becomes sharper, more responsible and more informed.

So, if I were sitting in the classroom, I’d be most excited by the opportunity to connect theory and practice, to trace how historical forces shape contemporary aesthetics and how industry mechanics shape the stories we are able to tell. That combination of critical awareness and professional literacy feels essential for anyone hoping to communicate fashion in a meaningful way today.

How do you help students communicate about fashion and beauty in a way that feels relevant, responsible and engaging?

I approach that question from three interconnected angles: relevance, responsibility and depth.

First, relevance comes from cultural literacy. I encourage students to situate fashion and beauty within broader cultural conversations rather than treating them as isolated industries. When we look at a brand like Louis Vuitton collaborating across music, sport or art or consider how figures like Pharrell Williams operate across multiple cultural arenas, we analyze not just the aesthetic outcome but the ecosystem around it. Who is the audience? What values are being signaled? Why now? Students learn to see communication as something embedded in culture, not just produced for it.

Responsibility for me begins with critical awareness. Fashion and beauty are powerful image-making industries they shape ideals of identity, gender, race, class and desirability. I ask students to interrogate the histories behind the images: where certain beauty standards originate, how luxury has historically constructed exclusivity and how supply chains and labor realities sit behind polished campaigns. We discuss the difference between performative sustainability messaging and structural change, and we examine how narratives around “empowerment” or “diversity” function in practice. If students understand the implications of the stories they tell, they can communicate with integrity.

Engagement comes from encouraging experimentation and clarity of voice. I push students to think beyond conventional formats, campaigns, editorials, brand decks and consider emerging platforms, digital storytelling and new forms of audience participation. At the same time I emphasize precision: who are you speaking to and why should they care? Strong fashion communication isn’t just visually compelling; it’s conceptually rigorous and strategically aware.

Importantly I also ground creative work in industry knowledge. Understanding how conglomerates operate, how trend cycles are generated, how media and retail structures intersect, these realities shape what is possible. When students grasp both the creative and commercial frameworks of fashion and beauty, their communication becomes more nuanced and credible.

Ultimately I aim to help students develop a dual lens: one that is imaginative and forward-thinking and one that is historically and ethically grounded. When those two perspectives come together, fashion and beauty communication can be culturally relevant, socially responsible and genuinely engaging.

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

If my students took just one mindset from my classroom into their careers, I would hope it would be critical curiosity.

By that I mean the ability to remain inquisitive about the systems they’re operating within, not just the aesthetics they’re producing. Fashion and beauty move quickly and there’s constant pressure to respond, create and deliver. But I hope they pause long enough to ask: Why is this trend emerging now? Who benefits from this narrative? What histories sit behind this image?

Whether they’re working with a heritage house or a global powerhouse, I want them to understand that every campaign, collaboration or casting decision sits within a larger economic and cultural framework. If they carry that awareness with them, they’ll be better equipped to navigate complexity rather than simply reproduce it.

Critical curiosity also means being open to change. The industry is constantly evolving through technology, sustainability pressures and shifting cultural power. A mindset rooted in curiosity allows graduates to adapt without losing their ethical compass.

Ultimately I hope they leave with the confidence to question constructively, to create responsibly and to remain intellectually engaged throughout their careers.

Explore MA Programs at Vogue College of Fashion

In a global denim circuit where innovation is often measured in finishes, fibers, and wash techniques, Rajby Textiles used the recent Kingpins Show in Amsterdam to shift the conversation toward people. Through a seminal collaboration with the Karachi Down Syndrome Program (KDSP), the Karachi-based manufacturer presented denim as a platform for inclusion, independence, and creative opportunity.

Titled “The Living Gallery of Inclusion,” this initiative transcended the traditional parameters of Corporate Social Responsibility, demonstrating how manufacturing expertise can be leveraged not only to produce textiles, but to architect meaningful pathways into employment and global visibility.

Structural shift in social sustainability

The partnership between Rajby Textiles and KDSP was built upon an economic model designed to dismantle the systemic barriers that often exclude neurodivergent talent from the global workforce. Rather than launching a symbolic capsule collection, Rajby Textiles implemented a dedicated internship program that integrated KDSP individuals directly into the industrial production cycle.

While the manufacturer provided the denim base and technical know-how, the artists of KDSP transformed 200 one-of-a-kind tote bags into personal expressions of creativity. Using hand-painting and screen-printing techniques, each participant created pieces shaped by their own visual language. Crucially, the artists were compensated directly, supporting financial independence and professional confidence. The result was a project that offered more than awareness; it created a replicable blueprint for how manufacturers can use existing infrastructure to generate real social value.

The artists: Architects of a new aesthetic

The “Living Gallery” served as a sensory bridge between Karachi and the global denim community, replacing standard product displays with a cinematic journey into the creative lives of the artists. The industry met creators like Taha Iftikhar, the disciplined ‘Architect’ behind the brand Impressions 21, and Danish Wali, a weaver who views every brushstroke as a performance of his hard-won independence.

From the entrepreneurial vision of Hussain Ali Kalabi to the digital storytelling of Rania Sheikh and the athletic discipline of Hassan Patel, the project moved the industry’s focus away from the finished garment and toward the personhood of the creator. These bags do not just carry belongings; they carry the dreams of individuals who define themselves by their passions rather than their challenges. By providing a global stage for this untapped talent, Rajby Textiles is ensuring that these voices are woven into the very fabric of the trade.

A new paradigm for conscious fashion

As the fashion sector pivots toward more rigorous ESG frameworks, “Denim with Purpose” serves as a powerful reminder that social sustainability is as critical as water conservation or chemical reduction. By elevating these voices on the Kingpins stage, Rajby Textiles and KDSP have demonstrated that true innovation requires a commitment to human equity.

This collaboration has set a new benchmark for the industry, proving that when we invest in untapped talent, we create a product that is premium in its truest, most soulful sense. The legacy of this project continues to resonate, reminding every professional that the industry’s greatest strength lies in the diversity of the people who stitch it together.

H&M is strengthening its commitment to digital transformation with the appointment of Diego Teijeiro as the group's new global chief information officer (CIO).

As exclusively reported by Modaes, the Spanish executive, who has over two decades of experience at Inditex, will take up the position from May 25. In this role, Teijeiro will join the Swedish company's executive committee and will report directly to Daniel Ervér, chief executive officer of H&M.

The appointment comes at a time when technology has become central to the Stockholm-based group's strategy. H&M plans to increase its investment in technological infrastructure during 2026 as part of its transformation roadmap. The goal is to modernise its systems and build a more flexible operational foundation for the coming years. The company believes this development will be key to accelerating processes, improving data management, and strengthening its responsiveness in an increasingly demanding environment.

A graduate of the University of Vigo, Teijeiro joined Inditex in 2007 after working for companies such as Deloitte and Mapfre. Within the Galician group, he held various technology-related positions before being appointed global head of data & analytics in 2018.

This move coincides with a financial context marked by mixed performance at the start of the 2025/26 financial year. In the first quarter, H&M's turnover decreased by 10 percent to 49.6 billion Swedish kronor. This was mainly due to the impact of exchange rates, as the decline in local currency was only 1 percent.

Despite the drop in revenue, the company managed to improve its profitability thanks to lower promotional activity and cost control. Its operating profit increased by 26 percent and its net profit by 23 percent. This indicates that the group is seeking to sustain its transformation by relying on a more efficient financial structure.

Interview There are countless sustainability initiatives across the global fashion industry, but who is truly driving that transition? Are their efforts visible to the public or not? In this series, we interview changemakers, consultants, sustainability experts, and activists in fashion to see what we can learn from their work.

In this edition of Changemakers in Fashion, we speak with Liz Hershfield, Executive Director of the US Cotton Trust Protocol, the voluntary sustainability program and traceability platform for U.S. cotton. With more than 30 years of experience in the fashion industry, she has led sustainability and supply chain initiatives at J.Crew Group, Madewell, Bonobos, and Old Navy, and founded the ESG consultancy Green-ish. An expert in sustainable sourcing and supply chain strategy, she has been recognized with the Textile Exchange Ryan Young Climate+ Award and named to The Lead's "Direct 60" and the Rivet 50 Index.

Can you tell us a bit about yourself and your background — and how you ended up making sustainability in the cotton and broader fashion industry your life's work?

Liz: "I spent over 30 years in sourcing, production, and supply chain, taking products from development to the end customer. In 2015, when the Paris Climate Accord was signed, I started getting really interested in sustainability. I was at Bonobos when my boss and the CEO's girlfriend, now his wife, also showed her interest in it. She wasn't in fashion, but she was passionate about the environment and had all the contacts. He told her to come talk to me, and she set me off in the right direction. Bonobos was then acquired by Walmart, where I got to expand and amplify my sustainability work by combining it with production and supply chain, which is a bit unusual in the U.S. But it helped that I already had the business background and understood suppliers and how to make the product, so I could layer sustainability on top.

From there, I started thinking about where I could make the biggest impact. Every brand I'd worked for was cotton-rich, so I got really interested in soil health. I'd heard repairing the earth's soil could reverse climate change. Sounds easy, but it's not. I eventually moved to J.Crew, overseeing sustainability across all the brands and production and product development for Madewell. That's where I got to implement an industry-leading program paying U.S. farmers directly for regenerative agriculture, and we were one of the first brands to pilot the U.S. Cotton Trust Protocol. I got really emotionally invested in the U.S. cotton industry. About four and a half years later, I left and started my own consulting business focused on supply chains and sustainability, and began speaking at Cotton USA events on why U.S. cotton is the best choice. When the executive director retired, I was asked to consider the position. It pulled all my experience together, and they wanted someone from the brand side. I came on as executive director, and I'm now also Co-Director of the U.S. Cotton Trust Protocol."

What are some of the projects you're working on that you’re most excited about right now? Why?

Liz: "On the Cotton USA and U.S. Cotton Trust Protocol side, we're under the National Cotton Council, and we are deeply connected, hence why I'm involved in both. One of the things we're doing right now is expanding the services we offer to the brands and suppliers who are Trust Protocol members and buying U.S. cotton. U.S. cotton is the best quality in the world; there are many studies that prove it. It can be seen as more expensive, a few pennies more per pound than some of our competitors, but because the quality is so superior, you actually get a better yield when you process it. The dyes and treatments all of that takes better. We have a whole technical team that works with our suppliers to help them process it and show them where they can gain efficiencies, which generally makes it at least cost-neutral, if not less expensive, with a better end quality.

We started off with spinning yarn, now we're into fabric, and we're offering these services to our brand partners, too. Having come from the brand side, I wish I'd known this existed before because, as a production person, it would've been incredibly helpful to deploy that kind of technical expertise into our suppliers. That way, we can really expand the use of U.S. cotton without constantly being told it's too expensive."

Touching on price, what are the biggest challenges you face when it comes to advocating for the sustainable production of U.S. cotton — and where do you see the clearest/most obvious opportunities?

Liz: "I'm gonna be honest with you, it really comes down to price. It always does. So we have to really show and demonstrate that the quality is superior. We also have the U.S. Cotton Trust Protocol, which makes us stand out. It's a voluntary sustainability and traceability program for the U.S. cotton industry, so you get best-in-class traceability and verified sustainability data. It's the full package. Now, I think it's about getting the word out, that's what we're trying to do, because when people use U.S. cotton, they love it and they want to use more of it. So, however we can make it easier and more efficient for them, that's what we want to do."

U.S. cotton can sometimes be overshadowed by organic or recycled fibres in sustainability conversations. How do you make the case that it's still one of the best options for a new generation of sustainability-minded brands, retailers, and consumers?

Liz: "When I started my journey in the U.S. cotton industry, through that program where we were incentivizing and paying premiums to producers for their regenerative inputs, it opened my eyes to farming practices in the United States; they're so advanced. Most of these are family farms, handed down over generations, so the farmers care deeply about the land, and they've been doing regenerative practices for decades. I was at an event recently with one of our producers doing a fireside chat, and I said, 'I want to talk about regenerative practices.' He said, 'Can you tell me what those are?' And I said, 'You're probably already doing them, you just don't realize it.' They don't think they're doing something special, it's just how they farm. That's what we really lean on.

Regenerative is very scalable; it's all about healthy soil, which is the key to everything. Organic cotton is great, but it's hard to scale for a lot of reasons. There are organic cotton farms in the U.S., and we support those too, but if you want to make an impact, you have to be able to scale. Regenerative is where that happens; it's scalable, it makes an impact, and it's positively received by the industry. And a large majority of U.S. cotton is already farmed this way. Last year, we launched a regenerative pilot on the U.S. Cotton Trust Protocol side. We had to do a pilot to test the feasibility of verifying every field in order not to just check all the boxes but it's going to scale really fast, because so many growers already farm that way."

What are some of the most significant shifts you've witnessed over the past five years in how the fashion industry produces and uses cotton?

Liz: "I think part of the challenge we're facing is the extreme growth of synthetic fibers in the clothing we wear. Synthetics represent close to 70 percent of the fibers in our clothing, and cotton is 19 percent. There's been this shift, obviously, synthetics are quick, easy, fast, less expensive, but it's really damaging to the environment, and now we're hearing about the impact on people's health with microplastics and other issues coming out. The industry just went for it — they follow trends, they're selling products, and they weren't thinking about it. Sustainability has really grown as an initiative in fashion over the past 10 years, and now, as we talk more about natural fibers and how much better they are for the environment and your health, people are starting to take notice and market more around it. You're seeing smaller brands come up that are just doing natural fibers, and I think we'll see more of that.

I also want to be clear: we will always have synthetics in our lives. They are needed for performance products and swimwear. The problem is they start showing up in the environment and in turn, everything we eat, drink and breathe, and that's where we feel natural fibers, specifically cotton, are really the way to go."

Do you believe that we’re approaching a tipping point when it comes to how the industry thinks about its use of synthetic fibers versus natural fibers like cotton — and making genuinely better choices?

Liz: "I think we're getting there. We're not at the tipping point, but there's more awareness and more interest. Synthetic fibers aren't going away, and we don't want them to; they serve a real purpose, we just need less of them. Some brands are really starting to shift. Is it a seismic shift yet? No, but it's starting to burgeon, and hopefully over the next couple of years, we'll see some of that market share come back into cotton."

What are the most real, actionable steps that fashion and textile businesses can take right now to accelerate meaningful impact in their use of cotton?

Liz: "It starts with quality. You want the best quality product that fits into your price structure. The U.S. Cotton Trust Protocol and Cotton USA are a great choice because we offer all of that. We offer services no other country offers, helping process the cotton and show its value, a traceability platform, verified sustainability data, and trust in the industry. We don't have to worry about things like forced labor and deforestation the way you do with other countries.

In the last six or seven years, brands have really started to understand where their cotton is coming from. So once you've done that work and you want a better quality product, U.S. cotton is absolutely the best. It's a really easy choice when you're designing high-quality products that are going to sell."

Do you think, as a whole, the fashion industry is doing enough to drive meaningful change when it comes to adopting more sustainable practices, such as using natural resources and material selection? Or is there still a large gap between ambition and action?

Liz: "There's a lot of positive intent and great work being done. But our biggest issue is overproduction. And overproduction coming from an infinite resource like synthetics, which is derived from petroleum, versus focusing on natural fibers that are finite. To me, that makes it evident there needs to be a mentality shift in the industry, and I don't think we'll see it that quickly. There are many brands doing amazing work and making an impact, but we're not going to see a significant shift unless we start reducing how much we're producing and how much we're consuming."

How do you view the future of circularity and sustainability within the fashion industry as a whole — is your glass half full or half empty?

Liz: "Half full, positive. I know there’s been a lot of negative press around — brands are pulling back and all that. But we see all the work brands are doing, just looking at our members, and they're very passionate about it. They're also running businesses, so they have to make smart choices for their business."

Finally, what is the one thing you'd like to leave our readers thinking about after this conversation?

Liz: "One thing we didn't touch on is how U.S. cotton farmers are some of the best and most advanced in the world. It's the foundation of the history of the United States. The industry employs over 200,000 people across 14,000 farms, and it's in a bit of dire straits right now. Over the last four years, the cost of cotton has been about 30 percent under the cost to produce. So by creating demand for cotton, choosing natural fibers, choosing cotton, choosing U.S. cotton, you're also supporting communities across the United States and really important infrastructure and family farms.

You can't keep running a business if you're losing money year after year, and we want to protect that. Supporting U.S. cotton isn't just about quality, traceability, and confidence in where it's coming from; it's also about supporting communities and family farms across the United States."

Canadian athletic apparel company Lululemon has announced the appointment of industry veteran Heidi O’Neill as its next chief executive officer (CEO). O’Neill, who brings more than three decades of experience in the brand strategy and product innovation sectors, is scheduled to assume the role and join the board of directors on September 8, 2026.

Based in Vancouver, O’Neill joins the company following a comprehensive search process conducted by the board. The appointment comes at a pivotal time for the technical athletic brand as it navigates a complex period of leadership transition and external pressure from activist investors.

Strategic leadership and Nike tenure

O’Neill spent over 25 years at US-based sportswear giant Nike, where she most recently served as president of consumer, product and brand. During her tenure at Nike, she was instrumental in growing the business from a 9 billion dollars entity to a global leader with over 45 billion dollars in revenue. Her expertise spans menswear, womenswear and kidswear, with a particular focus on digital transformation and direct-to-consumer (D2C) operations.

Lululemon executive chair Martha Morfitt described O’Neill as a "proven, consumer-driven brand strategist" with the ability to "imagine a new future for a brand".

Beyond her executive experience, O’Neill serves on the boards of Spotify Technology, Hyatt Hotels and Lithia & Driveway.

Navigating board friction and investor pressure

The appointment follows a period of significant scrutiny for the Lululemon board. Late last year, US-based activist investor Elliott Investment Management built an investment of approximately one billion dollars in the company. The firm had initially signaled an intention to back Jane Nielsen, the former chief financial officer (CFO) of US-based fashion house Ralph Lauren, for the top position.

Parallel to investor pressure, Lululemon founder and former CEO Chip Wilson has remained a vocal critic. Wilson, who holds roughly 4.3 percent of the company, has criticized current management for losing the brand’s "cool" factor. He is currently engaged in a board fight, seeking to install three director candidates at the annual meeting of stockholders later this year.

In March 2026, the company appointed Chip Bergh, the former president and CEO of US-based apparel company Levi Strauss & Co., to its board in an effort to strengthen its leadership ranks.

Path toward future growth

Interim co-CEOs Meghan Frank, who also serves as CFO, and André Maestrini, the chief commercial officer (CCO), will continue to lead the organization until O’Neill’s arrival in September. Following the transition, Frank and Maestrini will return to their previous senior leadership roles.

O’Neill enters the role with a mandate to accelerate product breakthroughs and deepen cultural relevance. While Lululemon remains profitable, analysts have noted that sales growth has tapered since the pandemic-era surge in athleisure demand. "My job will be to build on that foundation - to accelerate product breakthroughs, deepen the brand's cultural relevance, and unlock growth in markets around the world," O’Neill stated.

In less than two months, one of the world's biggest sporting events, the men's Football World Cup, is set to take place. The tournament, this time held across Canada, Mexico and the US, is not only the sporting event of the summer. It is also the grand finale of a historic collaboration: Adidas as the outfitter of the German national football team. From next year, the German Football Association (DFB) will be working with direct competitor Nike.

For the Herzogenaurach-based sporting goods company, the focus is currently on this summer. It is already drumming up publicity with several campaigns, such as a recent ‘vintage kit’ market in Shanghai. The advertising for the DFB's current away kit also seems to be working well. The sales launch was “very successful,” emphasised Adidas spokesperson Oliver Brüggen. “The demand in the first few days was even higher than for the Euro 2024 away kit.”

FashionUnited took this as an opportunity to speak with Mateo Kossmann about the final DFB kit, the collaboration with a total of 26 nations, and current football trends and influences from the second-hand market. Kossmann is responsible for the collaboration with national teams at Adidas as global category director – licensed football apparel (federations) and has just returned from a business trip to Mexico.

The perfect time to get the ball rolling.

First of all: What is the process for obtaining a national team jersey?

The process of creating a jersey is a long, collaborative journey that takes between 18 and 24 months. It isn’t a matter of Adidas or the Federation dictating terms; it is a shared process involving various milestones. Together, we define the stories we want to tell, the colors we want to explore, and the elements that are important for the jerseys.

At Adidas, we also study consumers and fans to understand what resonates with them and what stories will connect with their emotions. Combining fan insights, the Federation’s perspective, and the seasonal identity of Adidas Football, we build the kit through multiple rounds of feedback.

This year marks the end of the partnership with the DFB for the time being. What were your feelings when you first embarked on the project?

The collaboration and shared journey with the DFB and the German national team is long and special for Adidas. Heading into the 2026 World Cup, we knew we couldn't disappoint.

We put a great deal of love and attention into creating a very strong range for the team. We have a significant history together – many ups and downs – and while we look back at what we’ve experienced, we also focus on how the German national team should look in 2026 at the biggest World Cup ever.

Whilst the home kit draws inspiration from the 1990 World Cup victory, the away kit pays homage to several eras of your shared history. Could you use this example to walk us through the design process for such a kit?

For Germany 2026, the home kit celebrates past victories in a unique way. It takes cues from winning kits but reinvents them so that fans feel a sense of familiarity while seeing something fresh and exciting to wear in the US, Mexico, and Canada.

Regarding away kits, there is more flexibility. While a home kit – like Germany’s white or Spain’s red – is traditional, away kits allow us to meet different expectations. Germany has had green, black, and even pink kits. For 2026, we chose blue. This draws from several historical elements: a blue kit used in a friendly, the dark blue of the first Franz Beckenbauer Adidas tracksuit, and the blue training wear often worn by our founder and the team in the 90s.

We integrated these cues into the kit, maintaining a diamond-shape connection between the home and away designs. The engineered fabric of the authentic jersey plays with light and dark shades of blue to create a "denim" look depending on the angle. This blue shade is highly wearable both on and off the pitch, and bringing it to life was a massive effort from the Adidas and DFB teams.

36 years ago, the Trefoil logo also adorned a national team jersey for the last time. Was bringing it back now the icing on the cake to celebrate this collaboration?

For Germany, definitely. Adidas always brings its best to these major events. When planning, we decided to use both the performance logo on the home kit and the Trefoil on the away kit to celebrate the brand in different ways. On the home kit, we focused on "our life, our colors," emphasizing the national flag and identity.

The away kit focuses more on the cultural element. For us, the Trefoil doesn't just mean "retro" or "nostalgia" – it means culture, which can be interpreted in many ways. While the design may have nostalgic cues, the fabric and technology provide peak performance for the players.

We applied this cultural storytelling across different nations: a "flowery desert" story for Chile, the blue diamond story for Germany, and a stylish kit inspired by Spanish book covers for Spain. You only succeed in this by working closely with local teams and federations to ensure the design truly resonates with what people want.

In total, you’re currently working with 26 nations. Apart from the fact that every country has its own history, what are the biggest differences?

With 26 partners from different parts of the world, there is no way to streamline the process completely. Every culture is different. Some partners are very vocal and involved, while others give us more leeway. We have had meetings where designs receive standing ovations, and others where we debate every detail, from the cuff structure to the exact Pantone shade of the flag. Ultimately, it is a partnership; both parties must be happy with the direction, otherwise it wouldn't be sustainable in the long term.

Is there a particular story behind a detail on a jersey that has really inspired you?

Japan is always special. The federation has a very clear vision. They wanted to visualize the concept of "going beyond the horizon." On the home kit, we visualized that horizon, and on the away kit, the opportunities beyond it. They wanted 12 colors on the jersey to represent the 11 players and the fans. We decided the fan color should be red – the color of the flag and passion – placing a red stripe down the center of the jersey. We even included a red zip liner on the anthem jacket as a subtle "wink" to that story.

Another example is Curaçao. They qualified late, so we had to act fast. Instead of a standard white away kit, we spoke with people on the island about their culture. They described blue waves, beaches, and the vibrant colors of a special town. We landed on a unique, wearable yellow colorway with branding details that pop, creating a fresh look for the summer without overdoing it.

Today, the Trefoil logo is particularly associated with the Originals lifestyle brand. Does this also build a bridge to football as a trend?

Football is a global sport that influences lifestyle and fashion far beyond the pitch. When we create a kit, the priority is how it looks during a performance, but we know it also carries deep symbolic meaning for the culture. For 2026, we ensured fans could represent their teams in various ways: long-sleeves, authentic and replica versions, crop jerseys, and even "bringback" remixes with oversized, fashion-forward fits.

When you launch a kit, people talk. The fashion world takes inspiration from iconic eras like the 90s or 2000s, and we see more non-traditional brands entering the football space. We think that’s great because it brings the best to the fans.

You mentioned the 90s and 2000s, two centuries which also shaped fashion trends of the last years. In which “throwback time” is football culture at the moment?

The 90s provided very unique, iconic designs that still inspire us. However, we are slowly seeing a shift toward 2000s trends as Gen Z becomes more relevant. As humans, we are naturally nostalgic, but that doesn’t mean we should simply remake what already exists. We have to be smart about using cues from the past to create something reinvented.

The Argentinian home kit is a perfect example. To celebrate their three World Cups, we looked at the 1978, 1986, and 2022 jerseys. We combined their three distinct shades of light blue into a new, faded artwork on the stripes. We also added a crest with a holographic effect showing the years they won. It feels familiar but fresh for the current World Champions.

The older jerseys are also hot items on the second-hand market. To what extent is this relevant for Adidas?

It’s another way of celebrating football. Whether people want the latest performance gear or a baggy retro fit with a specific sponsor, we celebrate that excitement. Our "Bringbacks" program involves an "archaeological" approach to create one-to-one remakes of original jerseys. We replicate the specific fabrics, crests, and suede effects – only changing minor internal labels for modern regulations. These will be available for many federations in 2026.

What’s your all time favourite national jersey?

I’m originally from Uruguay, so I have several jerseys from my youth that I’ll never let go of. But if I had to pick one iconic design, it would be the 1990 DFB home kit. That look – the colors, the contrast, and the combination of simplicity and "loudness" – still gets me very excited.

Handbags are often a brand's primary revenue driver, offering higher profit margins than clothing and reaching a much wider audience. Because of this, they are essential for steering seasonal collections and boosting overall sales. This importance was reflected on the FW26 runways, where designers showcased a wide variety of satchels, ranging from relaxed, slouchy hobos to more structured silhouettes with straps.

Hobos

Designers used suede and softer types of leather in fresh colors for slouchy forms with updated detailing.

Diesel FW26 by Glenn Martens

The slouchy Diesel D-One in weathered brown leather featured dangling straps with multiple brass buckles and studs.

Elisabetta Franchi FW26

The ‘Boulevard’ hobo-style bag in black dollar-grain calf leather with a tubular top handle had a strap closure and gold-tone metal logo on the front.

Eckhaus Latta FW26

A yellow suede hobo bag with a strap accented with several silver-toned rivets.

Hermès FW 26 by Nadège Vanhee

A mustard yellow leather hobo bag with a unique metal clasp detail hanging from a central leather strap.

Shoulder bags

Fendi reintroduced their ‘90’s favorite the ‘Baguette’ with fresh details. Color for FW26 will be far-reaching, ranging from neutral black, brown and camel to a shade of bright grass green.

Fendi FW26 by Maria Grazia Chiuri

A Fendi ‘Baguette’ bag in camel leather with an intricate whipstitch detailing along the edges and a matching woven FF logo buckle.

Marni FW26 by Meryll Rogge

An elongated bag with a brown textured leather body and a contrasting orange top flap with long dual straps.

Prada FW26 by Miuccia Prada and Raf Simons

A bright green crocodile-embossed leather shoulder bag with a gold stamped logo.

Boss FW26

A black lambskin satchel with a curved topline and a thick adjustable shoulder strap.

Handheld bags

Designers showed ‘ladylike’ handbags, often shown in exotic skins or very fine lambskins. Trapezoid shapes were popular on the runways this season in keeping with the geometric trend.

Ferrari FW26 by Rocco Iannone

A handheld bag in burgundy leather with a polished silver-toned metal top handle.

Michael Kors FW26

A geometric trapezoidal shaped bag in sleek, polished calf leather with top handles.

Mugler FW26 by Miguel Castro Freitas

A croc-embossed leather bag in an angular design with top handles.

No.21 FW26 by Alessandro Dell'Acqua

A pink leather bag features a slouchy body with a structured top flap and a buckled strap.

Tods FW26 by Matteo Tamburini

A bag made of soft calf leather in a honey yellow color with a wrap-around buckled belt strap and a gold-toned metal "T" clasp.

Boxy shaped bags

‘Boxy’ east-west satchels were plentiful this season. Their shape was in keeping with this year’s geometric trend.

Advisry by Keith Herron

A leather tote in a black and white geo print with a circular front pocket, side pockets, a top zip with a tassel and tubular handles.

Hermès FW26 by Nadège Vanhee

A lime green suede mini ‘Plume’ bag with double top handles, a top zip and silver-toned hardware.

Mithridate FW26 by Daniel Fletcher

A blue leather double top-handled bag with front pockets and buckle and tassel details.

Akris FW26 by Albert Kriemler

The Akris small green leather ‘Alice’ bag with a textured flap and a top handle.

Satchels with a long strap

Arguably the most practical of the satchels as they can be worn as a crossbody, every big design house showed one with a long strap. Matthieu Blazy got creative with the classic Chanel bag, while the TV show, ‘Love Story’ introduced a whole new generation to the Calvin Klein brand.

Balenciaga FW26 by Pierpaolo Piccioli

The double-flap ‘George’ bag in brown lambskin featured a sculptural silhouette with a gold-toned rectangular ‘double B’ logo clasp.

Calvin Klein FW26 by Veronica Leoni

A brown leather bag with a rectangular gold toned metal clasp and a long strap.

Chanel FW26 by Matthieu Blazy

A unique bag incorporating the "Mademoiselle" turnlock and the flat-link "bijoux" chain of the 2.55 with the interlocking "CC" closure of the 11.12 and the leather-intertwined chain of the Classic Flap.

Miu Miu FW26 by Miucca Prada

A saddle-bag silhouette in a brown, distressed leather finish with a prominent gold-tone buckle and a long, thin adjustable leather strap.

Ivano Cauli has been appointed the new chief executive officer of Pitti Immagine, while Raffaello Napoleone, who has been CEO of Pitti Immagine since 1989, has been appointed managing director for international and institutional relations.

The new board of directors of Pitti Immagine was inaugurated today under the chairmanship of Antonio De Matteis. The board has been expanded by two members compared to the outgoing board, following a resolution passed last week at the extraordinary shareholders' meeting. It is now composed as follows: Giovanni Basagni (reappointed); Stefano Borsini (reappointed); Laura Bosetti Tonatto (newly appointed); Ercole Botto Poala (reappointed); Paolo Carrai (newly appointed); Ivano Cauli (newly appointed); Antonio De Matteis (reappointed chairman); Marco Landi (reappointed); Antonella Mansi (reappointed vice chairwoman); Niccolò Moschini (reappointed); Raffaello Napoleone (reappointed); Lorenzo Nencini (reappointed); and Marco Palmieri (reappointed).

“First of all, I would like to thank the Centro di Firenze per la Moda Italiana (CFMI) and Confindustria Moda for the confidence they have shown in me and the board. Complex years lie ahead. We are ready to contribute to supporting Pitti Immagine's trade fair initiatives, which represent excellence not only for Florence but also for the various reference sectors,” said Antonio De Matteis in a statement.

Raffaello Napoleone is managing director for international and institutional relations

The board has appointed Ivano Cauli, the company's current general manager, as chief executive officer. Subsequently, Raffaello Napoleone was appointed managing director for international and institutional relations.

"“There is no doubt that this dual role places a great responsibility on Ivano Cauli, who has been with the company for four years now. His personal entrepreneurial experience, ability to manage innovation, and knowledge of the company's operations provide ample guarantees,” De Matteis emphasised.

Who is Ivano Cauli

Ivano Cauli was born in Milan in 1969. He is a manager and entrepreneur in the digital sector with extensive experience developing innovative projects between Italy and the US. A graduate in Information Science, he contributed to the growth of the startup Sapient in the 1990s, launching a professional career focused on technological innovation.

In 2004, he founded Openmind. The company became a benchmark in e-commerce for fashion and other sectors, collaborating with major international brands. Following its acquisition by Accenture in 2021, he served as managing director for two years, leading the commerce offering for Southern Europe. Since 2024, he has been the director of innovation at Pitti Immagine and, since 2025, an advisor to the startup Grace Brigade, continuing to promote development and innovation in the digital landscape.

“I am convinced that the future of Pitti Immagine and the CFMI Group is being decided right now, within the next two or three years. This will shape the next 10 to 15 years. We are in the midst of an industrial transition that must be managed with great care at both European and national levels, including in Italy, without ideological gambles,” added Antonella Mansi.

"“There is a serious crisis in the international order that is obviously reflected in the economy, particularly in global trade and mobility. We are clearly seeing its impact on the fashion sector. In the trade fair sector, this is translating into changes in how operators participate and a consequent reduction in operating margins. This inevitably leads to the need to control costs while seeking new opportunities,” Mansi explained.

The board has approved the appointments for the corporate bodies of its subsidiaries. Agostino Poletto has been reappointed as the sole director of Stazione Leopolda srl. The board of directors of the Fondazione Pitti Discovery was also reappointed, with Mansi as chairwoman; Cauli, De Matteis, Moschini, and Napoleone as directors; and Cianchi as general secretary.

The Norwegian company Helly Hansen has relocated its Southern European headquarters to the centre of Barcelona, establishing a new base on Paseo de Gracia. Previously, the company operated from Sant Quirze del Vallès, on the city's outskirts.

According to a report by the trade publication Turiski, the move is part of a new phase of consolidation in Southern Europe. This relocation responds to the growth recorded in the region in recent years, where it has reportedly doubled its profits. It is also part of its expansion strategy in the Mediterranean and Spanish-speaking markets, under the ownership of the US group Kontoor Brands since 2025.

The new offices will centralise the marketing, sales, customer operations and retail departments for the Spanish, French, Italian, Portuguese and Andorran markets. Through this reorganisation, the company aims to improve internal coordination and strengthen relationships with its commercial partners in Southern Europe.

Carlos Bravo, the regional director, highlighted in a conversation with the trade publication that this new headquarters represents a boost to its commitment to the multi-brand distribution network. It also supports the company's expansion in the Mediterranean region.

The new space also incorporates a showroom for presenting the Helly Hansen, HH Workwear and Musto collections, with the capacity to host more than 150 clients annually. The company was acquired by Kontoor Brands in a deal valued at 900 million dollars in 2025. It has successfully boosted the US group's turnover since the acquisition and now aims to further strengthen its position as a technical leader in the sailing and mountain sectors.

Under Armour has joined the US Cotton Trust Protocol, taking a step forward in efforts to improve transparency and responsibility in cotton sourcing.

Through the membership, the sportswear brand will gain access to verified, field-level data on key environmental metrics, including water use, greenhouse gas emissions, soil health and land use. The move supports the brand’s wider sustainability strategy and its commitment to sourcing materials more responsibly.

As part of the partnership, Under Armour will begin piloting cotton sourced through the programme later this year. The material will be used in graphic T-shirts within its Freedom collection.

Aaron Driggers, director of sustainability at Under Armour, said: “Where and how our cotton is grown matters. We are thrilled to join the US Cotton Trust Protocol and strengthen our ability to build better products for athletes while advancing transparency across our supply chain.”

The Trust Protocol is a voluntary programme that provides measurable and verifiable data on US cotton production, helping brands track progress and validate improvements across sustainability indicators.

Gary Adams, president of the organisation, said the partnership aligns with Under Armour’s focus on performance and innovation, while also supporting more responsible sourcing practices across the industry.

US-based smart eyewear developer Innovative Eyewear has announced preliminary unaudited sales results for the first quarter ended March 31, 2026. The company, which manufactures products under the Lucyd, Reebok, Nautica, and Eddie Bauer brands, achieved preliminary first quarter (Q1) sales of approximately 0.81 million dollars. This figure represents an increase of 78 percent compared to Q1 2025, marking the highest first-quarter revenue in the history of the company.

This performance extends the streak of year-over-year (YoY) quarterly revenue growth for the company to 11 consecutive quarters. The growth rate for Q1 2026 also indicates an acceleration from the full-year 2025 growth rate of approximately 63 percent.

Innovative Eyewear chief executive officer Harrison Gross stated that the results represent the strongest start to any year in the history of the company. “Whilst these results remain subject to audit, we are highly encouraged by the preliminary Q1 2026 sales performance and by the commercial pipeline we are seeing in our optical, safety, and sporting goods channels,” Gross said. He highlighted that demand for workforce connectivity solutions remains a primary driver for the business.

Market expansion and product recognition

Lucyd Armor, the most popular product line for the group, recently received the 2026 Red Dot Design Award and the NHPA Retailer’s Choice Award. Market analysis indicates that Lucyd Armor holds approximately 44 percent market share of smart safety glasses on Amazon.

Innovative Eyewear management stated that the product remains the only smart safety glass on the platform with full safety certification in the US, Canada, and the European Union. The company has focused on building a diverse product mix and international footprint to maintain its position as a value leader in the smart eyewear sector.

To bolster its direct-to-consumer (D2C) growth, the company is in negotiations with several retailers to introduce Lucyd Armor and Reebok products into brick and mortar stores across the US and Canada throughout 2026. Target partners include big box stores, traditional optical chains, and hardware and automotive retailers.

Industrial partnerships and white label opportunities

Several industrial and logistics companies are currently testing Lucyd products for workforce use; these firms include DHL, Do It Best / True Value, and Thermo King. Additionally, the company launched a white label offering at the most recent Vision Expo trade show.

The white label service allows retailers and legacy eyewear brands to introduce smart products in partnership with Innovative Eyewear. The company confirmed it has already secured an affirmative commitment for a white label line of smart safety glasses.

Preliminary results also indicate improved gross margins for the period. The Q1 2026 gross profit margins showed a significant increase over full-year 2025 margins, which the company attributed to effective tariff mitigation actions.

The company continues to focus on its mission to ‘Upgrade Your Eyewear’ through Bluetooth and ChatGPT enabled frames. These products are offered in hundreds of combinations to serve the sunglasses, sporting goods, and safety eyewear markets.

Paris, France – April 22, 2026 (AFP) – Ski equipment manufacturer Rossignol has improved its sales for the 2025/2026 season, following two difficult winters. The brand announced on Wednesday that the increase was due to strong visitor numbers at ski resorts.

For its financial year ending March 31, the French group achieved a turnover of 346 million euros (406 million dollars), compared to 342 million euros at the same time last year.

Excluding currency effects, sales increased by more than 4 percent year-over-year. The weakening of the dollar particularly impacts Rossignol's accounts, as one-third of its sales are generated in North America.

This increase marks a break from the trend of declining turnover in recent years, although it remains below the historic record of 2022-2023.

Rossignol states that it benefited from a snowy winter in Europe this year. The average occupancy rate at ski resorts was strong, reaching 73 percent for the season in France, for example.

The group generates three-quarters of its sales from ski equipment. Bindings are manufactured in Nevers (Nièvre), France and skis are primarily produced in northern Spain.

Faced with increasingly unstable winter snowfall due to climate change, the brand aims to reduce its dependence on winter.

It now wishes to focus on trail running, a discipline where "the number of participants is exploding," explained the group's head, Vincent Wauters, during a press conference on Wednesday.

The group develops trail and hiking clothing and footwear in Italy and manufactures them mainly in Asia.

In total, its textile division now accounts for around 25 percent of its turnover and 35 percent in France. Vincent Wauters expects this figure to rise to 50 percent within a few years.

This growth is part of a broader trend of adopting technical apparel for urban wear, driven by the huge success of competitors like Salomon.

Unlike other brands, however, Rossignol formally rules out creating dedicated lines to attract these new consumers.

Keen not to "dilute its DNA," Wauters prefers to "aim for performance and let the consumer come."

The encounter between Persol and Cassina reflects a shared vision of the Made in Italy concept, where style, design culture and creativity come together. For both brands, design emerges from a continuous dialogue between past and present, craftsmanship and innovation, heritage and the avant-garde.

A Contemporary Collection

The collaboration takes shape through an exclusive collection that interprets the aesthetic codes of the two brands, where detail and material take centre stage.

The Persol Cassina eyewear is presented in two limited-edition proposals : the first in the iconic black and havana colourways; the second, a collectable edition limited to just 500 numbered pieces, features an elegant gradient blue frame, a colour deeply rooted in Persol’s heritage, paired with a valet tray designed by Patricia Urquiola, designer and Art Director of Cassina.

The choice of acetate for the frames, with its subtle shades and natural striations, represents a perfect balance between aesthetics and structure : it reveals rich yet lightweight tones, enhancing its sculptural quality. Each pair of glasses features the Cassina logo on the inner temple, a detail repeated on both the case and the box.

Between Design and Materiality

In this project, the valet tray - designed to hold the glasses and other small personal items - becomes a symbolic element of the collaboration. Its shape, inspired by a seal, evokes the meeting between the two brands, sealing their encounter and embodying their shared values.

A key aspect in the development of this refined design object was the careful research into materials. It is crafted using recycled components, including leather fragments from Cassina’s production processes and small pieces of Persol acetate, brought together in a next-generation cement base composed of 90% aggregated minerals recovered from large quarry production waste. The result is unique: each piece celebrates a deep appreciation for materials, technical expertise and meticulous attention to detail.

Beyond the Archive: a Story that Endures over Time

The inspiration behind the model draws from Cassina’s historical archive and from the study of designs created by some of the greatest authors, making it possible to reinterpret emblematic forms within the language of eyewear through a research-driven approach to the three-dimensional shaping of materials.

Several details inspired by the brand’s heritage are echoed in the frame’s form, including milled surfaces that run along the bridge and temples, creating a distinctive visual signature that combines design rigour with refined aesthetics.

This dialogue between memory and design is also reflected in the dedicated packaging. Its aesthetic draws inspiration from the folders preserved in Cassina’s archive in Meda, the place that safeguards the brand’s history and know-how.

This reference transforms the object into a small fragment of a contemporary archive, celebrating both Cassina’s heritage and its enduring tradition. A convergence of visions and languages, where design becomes a shared ground for shaping a narrative and Italian craftsmanship destined to endure over time.

The velvet rope outside a luxury boutique has become as much a fixture of the world's premier shopping streets as the cobblestones beneath them. In Paris, London, Milan, and Tokyo, queues snake past flagship windows with a regularity that suggests demand has never been stronger. But step closer, and a more complicated picture emerges.

During Milan Design Week this week, a walk past the flagship stores of the city's leading luxury houses told its own story. At Prada, a pair of shorts in the window was priced at 600 euros. A small nylon bag, 2,800 euros. A hat, 560 euros. A pair of sneakers, 990 euros. These are not the headline pieces: the outerwear, the statement handbags, the runway looks that command four and five-figure sums. These are the entry-level products, the items that were once the accessible face of luxury, the pieces a fashion-conscious professional might purchase on a whim and worn for years.

That proposition has quietly disappeared.

On the streets outside, Milan is as international as it gets this week, flooded with visitors for Design Week. Yet shopping bags are conspicuously scarce. The flagship stores may be drawing foot traffic, but look more closely and the crowds are moving toward in-store events and activations rather than the till. The city is full of people who love fashion and design, and very few of them appear to be buying any.

The customer who once formed the backbone of luxury retail, the aspirational shopper, the fashion lover on a good salary, the occasional visitor to a brand they admired, has largely been priced out. What remains is a far narrower pool: ultra-high-net-worth individuals, tourists from markets where currency differentials soften the blow, and a growing cohort of younger consumers spending well beyond their means in pursuit of status.

The average shopper is now priced out

It is a shift the industry has, until recently, been reluctant to interrogate. Revenues at the major groups climbed steeply through the post-pandemic years, driven by price increases that outpaced inflation by a significant margin. LVMH, Kering, and Richemont all posted record results. The logic was straightforward: if customers kept buying at higher prices, the prices were correct.

But the correction has arrived. Several major houses have reported slowing demand, particularly in aspirational categories. Kering has issued profit warnings. Gucci has been flailing for years. Even LVMH has acknowledged softness in its fashion and leather goods division, where sales tumbled 2 percent in Q1 this year. The customers who were stretching to participate have stopped stretching.

Chanel offered a pointed illustration this month, raising handbag prices by 2–4 percent across the EU and up to 5 percent in the US, according to luxury pricing monitor Pursebop. It was not an isolated move, the Classic Flap had already seen an increase in August 2025, and the Chanel 25 followed in November. The Classic 11.12 Flap now retails at 11,700 dollars n the United States. The pricing cadence has become almost rhythmic. And while Chanel sells a lipstick for every demographic on earth, the distance between its entry-level cosmetics and its flagship leather goods has never been wider, or more telling about where the industry's priorities lie.

A high cultural cost

What is less discussed is the creative and cultural cost. Luxury fashion has historically derived much of its energy from its relationship with a broader public, the window shoppers, the magazine readers, the consumers who could not always afford the product but who sustained the desire that gave the brands their power. Price the product beyond that audience entirely, and the aspiration that underwrites the whole system begins to erode.

Some designers have begun to say so directly. In recent seasons, voices within the industry have questioned whether the value proposition at current price points is coherent — whether 600 euros for a pair of shorts represents a genuinely superior product, or simply the extension of a pricing strategy that has run ahead of reality.

The queues outside the boutiques have not disappeared. But who is in them, and how long they will stay, is a question the industry can no longer afford to defer.

The traditional ‘product drop’ has evolved into a more complex phenomenon: the brand activation.

Last week in Hoofddorp, the Dutch retailer Bruut proved that a successful collaboration goes beyond mere commercial gain. Working alongside Birkenstock and Mashi Radio, the launch of the Birkenstock Utti Lace was transformed into a high-energy community event where curation and personalisation took centre stage. FashionUnited attended the event to explore how product and experience converge within a physical space through multiple influential factors.

Utti silhouette: progressive design meets archival heritage

The Birkenstock Utti Lace is not just another addition to the portfolio; it is a manifesto of modern design that bridges the gap between functional heritage and contemporary street style. During the event, this silhouette was presented with the visual impact it deserves. In Bruut's minimalist yet raw setting, the texture of the suede and the craftsmanship of the sole construction were fully appreciated. For the discerning fashion enthusiast, this was an opportunity to experience the tactile qualities of the Utti up close.

Customisation as currency

What distinguished this activation from the standard retail experience was its focus on hyper-personalisation. In the current ‘attention economy’, consumers seek uniqueness. Guests were given the unique opportunity to modify their new Utti shoes immediately at a dedicated personalisation desk. Through exclusive charms, premium lace options, and subtle hardware upgrades, each shoe became a one-off piece. This form of co-creation not only strengthens the emotional bond with the product but also underscores Birkenstock's brand philosophy: an anatomical foundation that moulds to the wearer, now both physically and aesthetically.

Retail as the new social epicentre

A successful collaboration presentation stands or falls on its ambiance. The in-store atmosphere was defined by the progressive sounds of Mashi Radio, which created an organic flow throughout the shop. Hospitality provided by partners such as Christiani Focacceria, Red Bull, Stëlz, and Absolut elevated the event to a lifestyle level that transcends traditional retail boundaries.

For the fashion industry, this event serves as a blueprint for translating an omnichannel narrative into a physical experience. It is no longer about the transaction, but about the interaction. Here, Bruut acts not merely as a point-of-sale, but as a cultural curator connecting brands like Birkenstock with the right target audience. “The evening felt like a community moment—informal, warm, and authentic. Exactly as we want it,” noted Team Bruut.

With the launch of the Utti, Bruut and Birkenstock have proven that when two icons join forces based on shared values, the result is always greater than the sum of its parts. The Utti has officially landed, and its impact on the street scene will undoubtedly follow.

The upcoming edition of Denim Première Vision will focus on new talent through a partnership with Istituto Marangoni. The event is scheduled for May 20 and 21 at Superstudio Più in Milan's Via Tortona. Two months after the passing of Adriano Goldschmied, a constant presence at the trade show, the event will dedicate a tribute to the “godfather of denim”. Goldschmied not only created successful jeans labels but also innovated the denim industry. He dedicated his talent, commitment, and knowledge to making this market sector increasingly sustainable.

Pioneer Denim and Soko to present three collections created by Adriano Goldschmied for Pioneer Denim

Specifically, Pioneer Denim and Soko will present three collections designed by Adriano Goldschmied for Pioneer Denim, developed in close collaboration with Soko's expertise in sustainable chemistry. Each collection reflects Goldschmied's relentless pursuit of modern, sustainable denim without aesthetic or process compromises. These creations embody the lasting legacy of a man who left an indelible mark on the industry.

The autumn/winter 27-28 trends will be presented at the event. The Denim trends forum will offer a forward-looking vision for the FW27-28 season, positioning denim as a constantly evolving language. The space brings together the technological advancements and responsible developments of the exhibitors. The forum serves as a practical tool for rethinking and elevating upcoming collections, encouraging an approach to denim as a living and transformative medium.

Denim Première Vision hosts over 60 exhibitors from around the world

Over 60 exhibitors from around the world will be present, with strong representation from Italy and Japan.

This edition features a renewed offering, with 10 percent new exhibitors and the return of global leaders such as American manufacturer Cone Denim and India's Arvind Limited. Newcomers include Pakistani accessories manufacturer Jawaid Bross. The trade show presents a mix of offerings composed of 60 percent denim mills; 20 percent manufacturing companies; and 20 percent suppliers of accessories, technology, and services.

As previously mentioned, the trade show is strengthening its partnership with Istituto Marangoni Milano to support the next generation of talent.

Four exhibitors (Isko Luxury by Pg, Advance Denim, Officina39, and Tonello) will host exclusive sessions within the school. Students will exhibit their creative research in the heart of the fair.

On May 21, student Lolie Bernard will present her vision, “What if this was enough?”, exploring authenticity and emotional honesty in design.

Denim Première Vision's commitment to eco-responsibility reaches a new milestone through its collaboration with the CBI (a Dutch government agency). The “Circular apparel Tunisia” project will be highlighted, showcasing the support provided to 18 Tunisian companies transitioning to circular production in line with European market requirements.

Among the main collaborative initiatives presented is Redefining Blue, a pioneering project developed in partnership with Chloris. In this edition, Chloris and Denim Première Vision will unveil the latest developments of Claessen Blue, Chloris' flagship bio-based dye, along with the initial results from the project's first phase. Bringing together leading denim mills, Redefining Blue serves as a platform for research, validation, and industrial application, supporting the industry's shift towards more responsible dyeing processes.

This unique collaboration between an innovative technology company and an international trade fair underscores Denim Première Vision's role as a driver of collective progress. Chloris will present its progress at a dedicated stand. Additionally, Li Li (chief brand and strategic officer of Chloris) will discuss the research findings during a dedicated panel with Fabio Adami Dalla Val, moderated by journalist Maria Cristina Pavarini.

The trade show will also unveil the second chapter of the Underrated Project. Developed in collaboration with Italian designer Kristian Guerra, the Denim PV fashion team, and exhibitors, this project presents an avant-garde denim wardrobe. Fusing authentic heritage with a futuristic vision, it explores the entire spectrum of the material, from raw indigo to coated and over-dyed finishes. Through the hybridisation of denim with technical fabrics, the project opens up an urban dialogue where functionality and style interact, creating fluid silhouettes in line with contemporary lifestyles.

Exhibitors include Abm Fashion, Arvind, Azgard Nine, Blue Diamond, Calik Denim, Chloris, Dnm Demim, Cbi, Isko Luxury by Pg, Isko, Ithib, Kilim Denim, Mic, Soko Chimica, Tonello, Toscana Tessuti by Stamperia Toscana, Umberto Lenzi by Lenzi Egisto, and Woolmark.

The crossover between fashion and the home is nothing new. From Hermès blankets to Missoni towels and Versace ceramics, luxury brands have long extended their identities beyond clothing. But at this year's Milan Design Week, running alongside the 64th edition of Salone del Mobile, that crossover has reached a new level of ambition, and visibility.

The relationship between fashion and design is no longer a parenthesis or seasonal happening. It is a stable presence, now embedded in the very idea of the Fuorisalone, and increasingly difficult to separate from it. The result is a city-wide programme where the boundaries between disciplines have all but dissolved.

Loro Piana

At Loro Piana, the house presented “Studies, Chapter I: On the Plaid” at its Milan headquarters, on via Moscova. Twenty-four unique pieces, differentiated by techniques, constructions and finishes, were crafted from the maison's finest fibres, vicuña, baby cashmere, and cashmere — alongside linen and innovative fabrics, each made exclusively upon request. It is a reminder that the same materials forming a season's knitwear collection can be applied with equal artisanal rigour to the objects that furnish a home. The pieces were available to buy only to its boutique customers, keeping it highly exclusive.

At Prada Home, a limited-edition presentation of Japanese ceramic vessels, by Taira Kuroki of Kyoto, Shion Tabata of Karuizawa, Yuichi Hirano, and Koichi Ohara of Tokoname, was on display, curated by Theaster Gates. The works draw on the tradition of the Chawan, Japan's ceremonial tea bowl, grounding the collaboration in craft and ritual as much as aesthetics.

Prada's broader Salone presence extends further. Now in its fifth edition, the annual Prada Frames symposium, curated by Formafantasma, runs under the title In Sight, with lectures and conversations held at Santa Maria delle Grazie exploring image-making as a cultural, political, and material force.

Moncler x Corso Como 10

Moncler, meanwhile, has taken a more visceral approach. At 10 Corso Como, a giant inflatable octopus wraps around the building's façade, reinterpreting the brand's signature puffer aesthetic in an immersive pop-up that blurs fashion, installation, and retail.

At Issey Miyake, designer Satoshi Kondo has turned waste into an architectural proposition. Working with Spanish practice Ensamble Studio, the project — titled The Paper Log: Shell and Core — takes the compressed paper rolls left over from the house's pleated garment production and finds in them two separate possibilities: one intimate and memorial, the other structural and functional. The result is part installation, part prototype, and entirely of a piece with Miyake's long-standing belief that process and material are never incidental.

Bottega Veneta, under creative director Louise Trotter, is collaborating with Korean artist Kwangho Lee on Lightful, a site-specific installation at the brand's Via Sant'Andrea store featuring suspended woven structures and light sculptures made from the house's leather fettucce strips. Gucci, under Demna, presented Memoria at the Chiostri di San Simpliciano, an immersive exhibition tracing the house's 105-year history through twelve tapestries and a garden installation reimagining the Flora motif as a three-dimensional environment. Elsewhere, Hermès, Jil Sander, Saint Laurent, Balenciaga, J.W. Anderson, Isabel Marant, and Chloé are all showing in some capacity across the city.

On the more democratic end of the spectrum, Zara is staging Calma, an immersive installation at the neoclassical Palazzina Appiani in Parco Sempione, a restful, sensorial experience conceived as a refuge from the week's energy. H&M, meanwhile, has announced a new partnership with American architect and designer Kelly Wearstler, adding another fashion-to-interiors collaboration to an already dense calendar.

Design democracy

The atmosphere at Salone is notably different from fashion week. Where the runway shows are transactional, built around orders, press, and commercial momentum, Fuorisalone is looser and more easygoing, without the fashion drama. Most events require nothing more than a QR code for entry. As one creative director at a luxury house put it: it is more democratic, and much more fun.

That openness is precisely what makes the week increasingly central to how fashion brands communicate. With no sell-through targets and no critical reviews, Milan Design Week has become the space where houses can say something about how they think, not just what they make and sell.

The Herzogenaurach-based sportswear company has appointed Bertrand Blanc to the newly created role of vice president global wholesale.

Blanc will take up his new position effective May 1, Puma announced on Wednesday. He will report directly to chief commercial officer (CCO) Matthias Baeumer and will be responsible for developing and implementing sales strategies. The move is intended to strengthen Puma's position with key wholesale customers.

“Our wholesale business is a crucial part of our business,” said Baeumer. “With a dedicated management level for this channel, we can create a global centre of excellence that supports our global markets.”

The new head of wholesale brings over 25 years of experience in international management positions. He has held senior roles in strategy; key account management; planning; and operations within the sports industry, including at sportswear providers such as Asics and Nike. Most recently, he was senior global commercial director of racquet sports at US sporting goods manufacturer Wilson Sporting Goods and supported international companies as a consultant.

“I am convinced that Bertrand is the right person to lead our teams and expand Puma's business with strategically important wholesalers, both globally and in our largest markets,” continued Baeumer.

Blanc is the second executive Puma has appointed this week. On Monday, the company named Laurent Fricker as vice president of the sportstyle business unit.

Barcelona has once again asserted its position as one of the most interesting hubs for independent design. The 37th edition of 080 Barcelona Fashion, held between April 14 and 17, once again transformed the city into a space of convergence for creativity, fashion and the plurality of identities that define it.

The event's move from its traditional location at the Recinto Modernista de Sant Pau to Port Vell has reoriented its imagery towards the Mediterranean, strengthening its connection with the seafront. The sea permeates the city's aesthetic and, more or less consciously, continues to serve as a constant source of inspiration for its creators.

In this context, fashion is marked by lightweight garments, neutral tones and a relaxed style influenced by the climate. There is also a strong presence of international fashion and contemporary design. Experimental proposals coexist with clearly cosmopolitan ones, creating a continuous dialogue between the local and the global.

This variety was precisely what was seen on the runway. Clothing becomes a vehicle for expressing the city's global openness. It is increasingly difficult to identify unique or repeated trends, given the growing individuality of the collections.

From the viral moment when socialite Carmen Lomana and rapper Metrika walked together during the Dominnico presentation, to the “migrant pride” claimed by Mexican designer Ricardo Seco in a context of social and migratory debate, the runway has also served as a space for discourse. This narrative is amplified by proposals such as that of Palestinian designer Sylwia Nazzal, founder of Nazzal Studio, who introduces a perspective shaped by the geopolitical tensions affecting the Middle East.

Behind this international consolidation is the institutional work of the Generalitat de Catalunya, through the CCAM, with the support of the Ajuntament de Barcelona. Its commitment to internationalisation, particularly through a strategic programme of invitations to global press, has strengthened the event's presence on the international circuit. This has placed Barcelona on the global fashion radar not only as a showcase, but also as a creative hub with its own identity.

Colour: lime green

Acid lime green is establishing itself as the disruptive accent of the winter season, breaking the hegemony of neutrals with a vibrant, almost electric energy.

On the Barcelona runway, its interpretation evolves from the chromatic minimalism of Adolfo Domínguez, who incorporates it into monochromatic knitwear looks or as a subtle accent to soften its intensity, to the more futuristic and aggressive proposals of Dominnico, where it is combined with crocodile skin textures and metallic details. In the case of XVStrange, the trend adopts a more refined approach.

Accessory: the belt

Typically worn at the natural waist to define the silhouette, at 080 Barcelona Fashion the belt sheds its conventional use and becomes an element of architectural tension within the look.

In Doblas's collection, multiple belts are seen shifted towards the chest or falling irregularly over the hips, fragmenting the garment and creating new lines of force in the silhouette's construction.

Habey Club reinterprets it with a more relaxed logic, placing it low and almost nonchalantly, as a device to accentuate oversized silhouettes or bubble skirts. For Adolfo Domínguez, the belt remains a gesture of control, preserving the elegance of traditional tailoring within a context of relaxed, everyday luxury.

Technique: the knot

The knot acts as an anchor point, creating asymmetrical falls and more dramatic draping. It unfolds as a bow on satin skirts or as a scarf to create new lines of force, making the look more interesting.

Habey Club chooses to cinch dresses without altering their fluidity. In Moonsieur's case, the knot is reinterpreted as a contrasting fabric bow that crosses over the waist, functioning as a visual gesture and focal point within the garment's composition.

Silhouette: the peplum

The waist is no longer just defined; it projects outwards with exaggerated volumes, using the peplum silhouette that has made a strong comeback on the autumn/winter 2026 runways. This reflects fashion's current interest in controlled volume at the hips.

In its most architectural version, Justicia takes this idea to the extreme, opting for a quilted structure.

This evolution is also evident in more ethereal versions, such as Rubearth's, where the peplum is deconstructed into layers of suspended ruffles. It is also seen in the technical sobriety of Boulard and Doblas, demonstrating that the trend has mutated into a design tool capable of sculpting the body by playing with proportions.

Embellishment: feathers

Feathers are establishing themselves this season as the ultimate embellishment, transforming simple garments into pieces with movement.

While some designers incorporated them in specific areas to add an unexpected texture, such as on pencil-silhouette midi skirts or as a counterpoint to more structured tailoring, others opted for an all-over approach, turning dresses and coats into true tactile sculptures.

Romantic detail: bows

The versatility of this element was evident in the various collections. Some designers incorporated bows minimally to add a touch of sweetness, such as a small adornment on the collar of a pink dress with puffed sleeves or as a metallic detail on a white lace top. Others opted for exuberance.

We saw blue satin bows adorning the front of a ribbed knit top, and a series of black velvet bows creating an intricate geometric pattern on a black tulle dress with pink ruffles. Even on accessories, like black Mary Janes paired with polka-dot tights, the small bow reaffirmed itself as the definitive adornment.

Underground touch

Adding its underground touch, Reparto Studio presented a collection that revives codes from the past, like band pins, to recontextualise them within its own aesthetic narrative. This narrative is based on the concept of the dream, from its nocturnal dimension to its projection into the future.

The collection draws on silhouettes from the late 19th and early 20th centuries and the underground culture of the late 20th century. Techniques such as upcycling, object repetition and moulage emphasise the experimental dimension of the garments.

Animal: the giraffe

The giraffe print emerges this season from Coconutscankill as an alternative to the traditional animal print. It is an under-exploited design with great potential, which on this occasion they have decided to explore in a very successful combination with red polka dots.

Material: ceramic

Although from a functional point of view ceramic is almost an “anti-accessory”, SKFK features pieces of fired and glazed clay that shift its use towards the ornamental. This invites the eye to focus on large-format fastenings and buttons that function as small sculptural objects within the garment. These were made by Proyecto Hemen.

British footwear retailer Shoe Zone has announced a significant downward revision of its financial outlook for the fiscal year ending October 3, 2026. The company now anticipates an adjusted loss before tax in the range of 1 million pounds to 2 million pounds.

This projection marks a stark contrast to previous market expectations of a 1 million pounds (1.35 million dollars) adjusted profit before tax. The Leicester-based retailer cited challenging trading conditions during the first quarter of the calendar year as the primary driver for the revision.

Macroeconomic pressures impact retail performance

Management identified a continued weakening in consumer confidence as a core challenge. This trend follows recent government budget announcements and ongoing geo-political issues in the Middle East.

These external factors have triggered increased customer caution, resulting in lower footfall across the Shoe Zone estate and a reduction in discretionary spending. Furthermore, the company has faced rising operational expenses, including elevated container prices and transportation costs.

Operational outlook and liquidity

The retailer expects that trading and cost pressures will continue to impact the second half (H2) of the financial year. Despite the projected loss, SZ remains debt free.

Shoe Zone operates 259 stores across the UK comprising 53 original high street stores and 206 larger format stores. These larger formats carry third-party brands including Skechers, Hush Puppies, Rieker and Lilley & Skinner alongside the core value range.

The company expects to announce its interim results in early May 2026, which will provide further clarity on the year-over-year (YoY) performance and strategic adjustments.

In celebration of craftsmanship and material innovation, Jimmy Choo presents a new instalment of the 'From the Atelier' series, reinterpreting the brand's iconic BON BON bag. Now in its third year, this edition focuses on leather—previous editions explored embroidery and crystal embellishments—as an essential material, transformed through complex techniques.

Inspired by a bespoke work from paper artist Helen Musselwhite that interprets the four seasons, the capsule translates the intricate beauty of nature through layers of handcrafted paper into four exquisite BON BON bags. Balancing technical precision with creative expression, the collection is a study in the metamorphosis of material through artisanal manipulation: from paper to leather, from sculpture to accessory.

First introduced in 2019, the BON BON has quickly become synonymous with Jimmy Choo. Blurring the line between accessory and jewellery with its distinctive bracelet-like handle, this characterful silhouette serves as a canvas for creative expression. In this limited edition, it is elevated to the status of a true objet d'art.

In the four designs, each element is individually hand-moulded. Motifs, from flowers to butterflies, are taken from Musselwhite's work and brought to life using exclusive moulds and elaborate artisanal sewing techniques. Each design is a celebratory dialogue about the four seasons, capturing the particular emotion evoked by these subtle changes in nature.

For spring, the BON BON is reinvented in 'Peony' pink leather, a nod to one of creative director Sandra Choi's favourite flowers, evoking the optimism of new blooms. Summer is presented in light, sun-bleached tones, reflecting the lightness of long summer days. Autumn is expressed through layered details and an earthy metallic palette reminiscent of fallen leaves. Winter is captured in silver leather and metallic accents, evoking frost-covered flowers and the season's bare trees. To complete the capsule, a curated selection of shoes will be available through the brand's Made-to-Order service.

The capsule collection is underpinned by the creative dialogue between Sandra Choi and Helen Musselwhite, united by a shared reverence for craftsmanship, materiality and nature as enduring sources of inspiration.

"From the Atelier is an opportunity to explore design in its purest state. It allows us to experiment, to push craftsmanship further and to celebrate the beauty of the creation process. Nature has always been a powerful reference in my world; its resilient and ever-evolving beauty is something I return to time and again. With this collection, I wanted to capture the emotion of the seasons, translating those moments into pieces that feel precious and enduring. I was deeply drawn to Helen's work and the way she transforms paper into such dynamic and emotional designs. There is great precision and poetry in her process, and I love that it is completely analogue, built slowly and carefully by hand. That sense of materiality and attention to detail aligns deeply with our own approach to craftsmanship at Jimmy Choo." — Sandra Choi

As the ultimate expression of Jimmy Choo's commitment to emotional design, the 'From the Atelier' capsule collection is designed not just to be worn, but to be displayed, collected and treasured.

The exclusive 'From the Atelier' capsule collection will be available in select boutiques globally from April 22.

A new report by Anitec-Assinform and the Polytechnic University of Turin highlights how artificial intelligence is reshaping skills, work organisation and training systems across Italian companies.

According to the study, the Italian AI market is expected to grow significantly, reaching 1.24 billion euros in 2025, up from 935 million euros in 2024, with projections exceeding 2.5 billion euros by 2028. Data from ISTAT also shows rapid adoption, with the share of companies using at least one AI solution rising from 8 percent in 2024 to 16.4 percent in 2025.

While adoption is accelerating, the report notes that employment impacts remain uncertain. Routine roles appear most exposed, with international evidence pointing to reduced job vacancies and declining junior employment in AI-intensive occupations. In Italy, however, the labour market is still at an early stage of transformation, reflecting an ongoing digital transition in production processes.

The research, titled “AI in the Italian labor market – Professions, adoption models and the training challenge,” combines literature analysis, case studies of pioneering companies, and a survey of training stakeholders. Findings suggest that businesses are primarily using AI to support decision-making, analyse data and improve operational efficiency, often transforming job tasks rather than fully automating them.

Public sentiment reflects this transition, with more than half of Italians expressing concern about new technologies and around 60 percent reporting insufficient digital skills. The report therefore calls for stronger public policies centred on education and reskilling, proposing 23 recommendations including a “personal AI training account” and a more streamlined national training ecosystem.

Industry representatives emphasise that investment in technology must be matched by investment in people. The study concludes that collaboration between universities, businesses and institutions will be essential to develop hybrid skills and ensure an inclusive transition to an AI-driven economy.

Current market conditions have introduced increasing complexity for textile and footwear brands around the world. A rapidly evolving greentech landscape, combined with accelerating regulatory demands, has created a fragmented ecosystem of overlapping solutions, making it difficult for brands to navigate with confidence. Addressing this challenge, the two specialist solution providers, Trimco Group and Retraced, are combining their expertise to deliver a connected transparency solution, starting from upstream supply chain mapping to on-product communication.

Specialist Forces Coming Together

By aligning Trimco Group’s expertise in labeling, packaging, RFID and variable data solutions with Retraced’s advanced supply chain intelligence platform, brands gain a fully integrated approach to product and supplier data management. Trimco Group is, first and foremost, a global label and RFID solution provider. The company expanded into traceability and transparency as a value-added digital extension of its core labeling business. By building structured data around the care and content label, Trimco Group occupies a unique position in the product lifecycle.

When regulations require product and packaging traceability, few stakeholders are better positioned than the original holder of the physical product data. Retraced, on the other hand, is a SaaS provider focused on upstream supply chain traceability. The platform enables brands to map suppliers, manage sourcing data, validate claims, and collaborate across their supplier network in one connected system. The platform makes verified supply chain and product data accessible via QR codes.

Bridging digital and physical

At the core of the partnership is a simple but powerful concept: connecting verified upstream data directly to the physical product through smart labelling. When a consumer, retailer, or regulator scans a QR code produced by Trimco Group, they access structured, credible information — either through Trimco Group’s Digital Manager with ProductDNA® or through the Retraced interface, depending on the brand’s chosen setup. The result is a complete transparency package that supports compliance readiness, strengthens trust, and prepares brands for evolving regulatory frameworks, including the Ecodesign for Sustainable Products Regulation (ESPR).

“Transparency only creates value when it is accessible, structured, and connected to the physical product. By integrating our ProductDNA® platform and labelling expertise with Retraced’s upstream traceability technology, we are making it significantly easier for brands to turn complex supply chain data into clear, credible product information,” says Camilla Mjelde, Sustainability and Compliance Director at Trimco Group.

Meeting market demand through collaboration

The collaboration reflects a broader market reality: traceability and transparency are a team effort. With increasing regulatory alignment across Europe and beyond, data owners, software providers, and product manufacturers must work together.

“Supply chain data on its own doesn’t create value if it stays in disconnected systems. Brands need to bring that information to the product level in a way that is usable for compliance and communication. By partnering with Trimco Group, we are closing that gap — linking upstream data with on-product solutions in a way that is practical and scalable,” says Roman Houlbreque, Director of Policy Compliance & Patnerships at Retraced.

A coherent solution in a complex market

Many global brands already work with both companies independently. By combining their specialist solutions, the two companies enable brands to consolidate systems, reduce operational complexity, improve data accuracy and future-proof traceability strategies.

“At Trimco Group, we believe that transparency is not achieved in isolation, and it can be built successfully through collaboration,” concludes Camilla Mjelde.

Female-founded British lingerie brand, Bluebella, have expanded their standalone wholesale space within Selfridges' newly redesigned Lingerie Hall.

Bluebella, the London-based brand known for its modern, design-led aesthetic, today announces the opening of its newly refurbished concession at Selfridges Oxford Street. The enhanced space represents a major milestone, giving the brand a more prominent and impactful presence within one of the world's most iconic department stores.

Founder and CEO Emily Bendell said: "Selfridges has been a fantastic partner, and we're incredibly proud to expand our presence in such an iconic retail destination. Securing a branded wholesale concession within the new Lingerie Hall is a strong statement of intent for Bluebella, and we're excited for customers to experience the brand in this beautifully reimagined environment."

Bluebella's concession sits at the heart of Selfridges' Lingerie Hall, a destination that attracts millions of visitors each year from across the UK and internationally. This expanded wholesale partnership reflects the brand's continued momentum and reinforces its position at the forefront of contemporary British lingerie design.

Footwear label Sperry is continuing its relaunch in Europe through a new partnership with Dubois, which has been appointed as the “regional engine” by the US brand’s parent company Authentic Brands Group.

Following a “high-impact” return to the UK and Ireland markets, Sperry has now set its sights on mainland Europe, specifically the Benelux and DACH regions. Here Dubois, a Belgian distributor which was recently acquired by the UK’s Gardiner Bros, will enact a “seamless rollout”.

Both Gardiner Bros and Dubois will jointly oversee the regional relaunch, with the latter to input local market intelligence while the former will provide its brand-building knowledge.

The official sell-in for the Sperry collection will begin May 1. Authentic is focused on establishing a presence in premium independent retailers and key accounts to retain the label’s aspirational and accessible identity.

This formula has already been applied to Sperry’s products, for which premium executions of staple footwear, such as the Authentic Original boat shoe, are merged with contemporary streetstyle trends in a bid to maintain brand relevance.

Speaking on this latest rollout, Henry Stupp, head of EMEAI at Authentic, said the expansion “marks an important step in our broader European growth strategy”. “Following strong momentum in the UK and Ireland, we’re seeing clear demand for brands that blend heritage with a modern, fashion-forward point of view,” he continued.

Mr Porter is proud to feature Ghiaia Cashmere, the distinguished knitwear label that seamlessly bridges the casual, sun-drenched aesthetic of Los Angeles with the unparalleled heritage and artisanal mastery of Italy. This unique transatlantic perspective allows the brand to redefine luxury menswear, specifically through its commitment to creating what is widely considered some of the softest, most exquisite cashmere available in contemporary fashion.

Ghiaia Cashmere’s success is built upon a dual foundation: a meticulous focus on sourcing the finest raw materials and a devotion to traditional, yet refined, Italian manufacturing techniques. The brand's design philosophy moves beyond mere trend, focusing instead on enduring style, exceptional comfort, and a tactile experience that only the highest-grade cashmere can provide. Each piece—from essential crewnecks to relaxed-fit hoodies—is crafted to be an investment piece, destined to be a long-lasting staple in the discerning modern man's wardrobe.

TFG London has opened its first tri-brand outlet store in Northern Ireland, combining its labels Hobbs, Phase Eight and Whistles under one roof.

The 3,851 square foot space sits within The Boulevard, a premier designer outlet located in Banbridge, County Down. The store’s interior intends to retain the identity of each brand through distinct areas, allowing customers to shop across fashion, footwear and accessories.

While Phase Eight offers a complete wardrobe solution for workwear, weekends and special occasions, Whistles provides collections designed for a “multi-faceted lifestyle”. Hobbs, meanwhile, brings “affordable luxury”, event dressing and everyday styles.

In a statement, TFG said it was excited to welcome new and existing customers to the site, adding: “We have no doubt that this will be the perfect location for our first tri-brand outlet, with The Boulevard’s continuous success and customer demographic aligning so seamlessly with our target market for Phase Eight, Hobbs, and Whistles.”

‘Meet Fashion Talent’ has reinforced the Region of Murcia as a platform for emerging fashion talent following the successful first edition held on April 18 at the Auditorio y Centro de Congresos Víctor Villegas. Organised by the regional Ministry of Tourism, Culture, Youth and Sports through the Instituto de las Industrias Culturales y las Artes, the event reached full capacity and showcased a mix of fashion, music and creative programming throughout the afternoon.

The programme featured runway presentations from finalists and winners of the ‘Meet Fashion Impulsa’ initiative, alongside selected emerging designers. Collections ranged from culturally inspired concepts to experimental proposals, while live music and DJ performances contributed to the atmosphere. The closing show by designer Pablo Erroz marked one of the highlights, bringing a presence more commonly seen at major fashion weeks to the regional stage.

Beyond the runway, the event included exhibitions such as “Insectum,” a fashion and beauty photography installation centred on upcycling and biodegradable materials, as well as a display of works interpreting the identity of the region by established Spanish designers. The programme concluded with an awards ceremony recognising emerging talent, with honours presented across categories including best collection, communication plan and presentation dossier.

With its debut edition, ‘Meet Fashion Talent’ positions itself as a growing cultural initiative supporting innovation and offering visibility to new generations of designers in the Spanish fashion landscape.

Now recognized by Forbes Vetted as Best Dress Shirt of 2026, the piece marks a new moment of recognition for a product that has long been central to the Swedish brand’s identity.

Founded in Sweden in 1928, Eton’s approach has always been grounded in quality and craftmanship; where design is reduced to what really matters and is built into every detail. That perspective carries through the Signature Twill shirt. Clean in expression. Considered in construction. Designed to function without excess.

The fabric itself is developed with long-standing Italian weaving partners, where expertise in cotton refinement meets Eton’s shirtmaking standards. A smooth wrinkle- resistant twill with a perfect luster made from premium cotton. It holds its structure while remaining undeniably comfortable against the skin and body.

There’s a certain simplicity to it. A shirt that sits right from the moment you put it on, and stays that way throughout the day. Structured without rigidity. Refined without excess. It moves easily between settings—work, travel, occasion—casual or formal, depending on how you style it.

For Forbes Vetted, Forbes’ editorial platform for product reviews and recommendations, the evaluation focused on construction and wear, noting: “Top notch, incredible hand feel, a luster that screams luxury.”

Rather than seasonal reinvention, the Signature Twill has been shaped through iteration. Adjusted, refined, and maintained over decades. A reflection of a Scandinavian approach to design, where longevity and function define value. Available across multiple fits and a full range of colors, the Signature Twill shirt continues to anchor Eton’s collections. Not by changing what it is, but by remaining consistent in how it performs.

Available at etonshirts.com

UK-based retailer JD Sports Fashion is preparing for the departure of its chairman, Andy Higginson, who is expected to step down from the board in the coming months. The news, reported by Sky News, marks a significant change for the leadership of the largest listed sporting goods group in the UK.

The report added that Higginson, a retail veteran who assumed the chairmanship in 2022, was originally anticipated to serve at least two three-year terms and an official announcement regarding his exit is expected soon.

Before joining the sports retailer, Higginson served as a senior executive at UK-based supermarket Tesco and later chaired WM Morrison, where he oversaw its sale to private equity firm Clayton Dubilier & Rice for nearly 10 billion pounds. He also previously held the position of chairman at the British Retail Consortium (BRC). Higginson has been a prominent figure in British business, notably endorsing the Labour Party prior to the last general election. However, he recently voiced criticism regarding tax changes introduced in the 2024 Budget.

Each season at the Amsterdam denim trade show Kingpins, thousands of new denim qualities are available to study, arranged in endless rows of jeans and swatches. Manufacturers effortlessly present 50 new developments. “It is actually nonsense,” Italian Piero Turk tells FashionUnited over the phone. He is speaking from his home and workplace in Italy; this time he did not attend the trade show in Amsterdam. “Nobody needs all those variations. They are not genuinely new or are far too eccentric for the average consumer. It is a complete waste of raw materials.”

Turk knows what he is talking about. He has worked as a denim designer for nearly every major denim brand since the 1980s and is now a regular fixture at Kingpins. For the trade show, he leads the ‘One Denim’ project, a quest for the perfect fabric that almost makes the event itself seem redundant.

One type of denim

The project was conceived during the Covid-19 pandemic and presented at the 2022 trade show. Since then, a One Denim collection has been presented at every October edition. The concept is simple: Turk is assigned a manufacturer and, using his expertise, gets to choose a fabric quality. “I always look for a fabric that is flexible,” he explains, “one that works for a wide leg and for a straight leg, for jeans, but also for a fashionable jacket or a skirt.” It is then up to the manufacturer to devise beautiful variations that showcase the versatility of the denim.

For the first edition, the Chinese manufacturer Prosperity Textile produced ten different versions of pockets from the same denim, each treated with a different wash. “We have gradually expanded the variation in styles,” continues Turk, “to show that you do not need new denims every season. With one good quality, you can get further than you might think. That is the concept of One Denim.”

The latest collaboration, presented in October, was with the Turkish denim supplier Kipas. Inspiration for the collection came from American sports, such as ice hockey and football. Turk chose a pure cotton fabric that feels softer due to a special treatment. The manufacturer used it to make jumpers and T-shirts in various shades of blue.

While Kipas performed all these treatments in its own factory, producing both fabrics and washes, the 2024 collaboration with the American company Cone Denim required a detour. The washes were done at Tonello in Italy. Turk: “Every time the process is different, depending on what the factory can do in-house.” In that sense, One Denim is also an investigation into where expertise still lies within the extensive denim supply chain.

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Chicken feathers

In his career, Turk has seen denim that he unhesitatingly describes as absurd: with chicken feathers in the warp or with so many holes it was more thread than fabric. Fabrics made from pineapple fibre, banana fibre and bamboo were touted as sustainable, although this is far from proven. “If you import that pineapple fibre from Central America to Turkey, how is that good for the climate? A Turkish factory using Turkish cotton seems more sustainable to me.”

He finds many of the sustainability claims circulating in the industry to be unbelievable. For instance, he saw a manufacturer promoting black denim as ‘waterlessly dyed’. “That is bullshit. Even if you use foam instead of a water tank with dyes, you need water to make that foam.” Other parties claim you can wash a pair of jeans with a single glass of water. “You can spray denim with a fine mist instead of fully submerging it, but for that you need ozone, which you then have to neutralise with water. It just does not add up.”

Waste

Even if it were true, manufacturers who fixate on such sustainability claims are missing the point, according to Turk. “If the end result is unwearable, what is the point?”

The waste in the industry is not just in the amount of water and chemicals required for the final product. It is also in the research phase needed to create all those new variants every season. “To develop a new denim, you have to invest a lot of money, energy and time. Sometimes the first test fails, then you have to do it again, and then again. Metres and metres of fabric are wasted in the process, for something that perhaps nobody is waiting for.”

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12.5 ounce

So what are the perfect jeans? Turk does not have to think long about it. “The simplest kind. 12.5 ounce denim with a visible twill (diagonal pattern in the weave) made from locally processed cotton.” He can appreciate hemp in the composition, provided it is grown locally, as the plant benefits soil life and the fabric is stronger than cotton. “But spinning and weaving hemp fibres also requires a lot of water, chemicals and energy,” Turk adds. “So it is not necessarily better.”

His biggest environmental concern for the coming years is stretch. Although natural materials with stretch are also coming onto the market, he mainly sees stretch denim with synthetic fibres that are still made from oil. “My dream is plastic-free denim.” The technology to make pure cotton more elastic is already advanced, thanks to innovative spinning processes. However, the fashion industry does not focus on it enough, even though European legislation aimed at circularity is pushing it in that direction. A fabric made from a single fibre type is much easier to recycle than a blend. “You cannot get super-stretch with these innovations, but you can get something comfortable that will last for years.”

The special washes that have filled Kingpins for seasons are also unnecessary, according to Turk. “Just give me unwashed denim.” You can still vary the yarn weight, weft density and dye intensity. That is more than enough.”

Ultimately, it is about the most wearable look, states Turk. A brand cannot go wrong with that. “You do not have to introduce new fabrics every season. If a solid quality does not take off, you just use it again in the next collection. Then you produce no waste, can reorder more easily, and do not waste precious production capacity.”

MSP

In addition to One Denim, Turk is also working on a similar project at Kingpins called ‘Most Sustainable Product’ (MSP). For this, he selects one quality from the collections of selected manufacturers each year and designs a denim line in consultation with them. For the upcoming Kingpins edition, the looks are inspired by iconic artists: Matisse, Salvador Dalí, Andy Warhol, Frida Kahlo. He expresses pride in the message behind it: “Sustainability does not mean you are limited. You can work in an environmentally friendly way and make anything you want.”

Eyewear company Safilo has announced an exclusive agreement with Bollé Brands to acquire Spy+ and Serengeti. The two US brands are active in the sports, outdoor and high-end eyewear segments.

Spy+, an authentic and established brand in the sports and sunglasses sector, will further strengthen Safilo's presence in sports and outdoor distribution channels due to its strong complementarity with Smith.

Serengeti, with decades of history, will be a key asset for the company led by Angelo Trocchia in the high-end eyewear segment.

In 2025, the two brands registered combined sales of approximately 39 million dollars.

The transaction aligns with the Padua-based eyewear company's strategy of selective acquisitions. According to the statement, this is intended to strengthen "the group's presence in high-growth potential segments, contributing to the further enhancement of its portfolio of proprietary brands, which includes Smith, Carrera, Polaroid and Blenders".

The completion of the proposed transaction is subject to the finalisation of consultation procedures with the relevant authorities and customary closing conditions.

Safilo closed 2025 with net sales of 983.4 million euros, up 1.8 percent at constant exchange rates, with a 2.6 percent organic performance.

Moncler Group reported consolidated revenues of 880.6 million euros (1,035 million dollars) for the first three months of 2026, an increase of 12 percent at constant exchange rates (+6 percent at current exchange rates). The board of directors today approved the interim management statement for the first quarter. Last year, the first three months closed at 829 million euros.

“In a global context characterised by conflict and instability, both Moncler and Stone Island have demonstrated strong energy and cultural relevance. These results are not accidental. They reflect a precise approach that enhances what makes our brands unique. This allows them to constantly evolve in both product and experiences,” stated Remo Ruffini, executive chairman of Moncler spa, in a note.

Moncler revenues reach 766.5 million

Regarding the individual brands, Moncler's revenues reached 766.5 million euros, up 12 percent at constant exchange rates (+6 percent at current exchange rates) compared to 721.8 million euros in the first three months of 2025.

The direct-to-consumer channel grew by 14 percent year-over-year, despite continued market volatility and a high comparison base, the management noted. The wholesale channel recorded a 3 percent year-over-year growth, even within the context of an ongoing rationalisation of the distribution network.

Considering the different geographical areas, Moncler recorded a solid brand performance in Asia, growing by 22 percent at constant exchange rates YoY to 433 million euros. This was supported by positive trends, especially in China and Korea. The Americas also performed well, growing by 7 percent YoY. The EMEA region underperformed (-1 percent YoY, amounting to 238.5 million euros), mainly due to still weak tourist flows in the region.

As of March 31, 2026, the Moncler brand's monobrand store network consisted of 295 direct retail stores, unchanged from December 31, 2025.

Stone Island closed Q1 with revenues of 114.1 million

Turning to Stone Island, revenues reached 114.1 million euros, an increase of 11 percent (+6 percent at current exchange rates) compared to 107.3 million euros in the first three months of 2025.

Double-digit growth continued in the direct-to-consumer channel (+17 percent YoY), driven by a positive organic performance in all regions, with the Americas and Asia outperforming the average.

The wholesale channel was up by 4 percent YoY, supported by the excellent reception of the spring/summer 2026 collection.

As of March 31, the Stone Island brand's monobrand store network had 94 direct retail stores, a net reduction of one unit compared to December 31, 2025.

The strategy for the coming months will see the group increasingly focused on its individual brands.

“As a new phase of our journey begins, with Leo Rongone now in the group, our focus is very clear: to remain true to who we are, always looking forward, and keeping the integrity of our brands at the heart of every decision,” said Ruffini.

Finally, today Moncler's shareholders' meeting approved the financial statements for the 2025 financial year, which closed with a net profit of 438.17 million euros. It also resolved to distribute a dividend of 1.4 euros per share.

Furthermore, the meeting approved a new plan to buy back and dispose of treasury shares, up to a maximum amount equal to 10 percent of the capital.

Madrid – Following the heartfelt tribute to Adolfo Domínguez, 080 Barcelona Fashion was once again filled with emotion on Thursday 16 April for the presentation of Mexican designer Ricardo Seco's latest collection. This was a committed and activist proposal, in keeping with the designer's creative codes. Seco arrived in Barcelona to make his debut on the city's circuit and to celebrate his 25-year career in the fashion industry.

A surprise star of this 37th edition of 080, he took the honorary position of international guest designer. This role was initially reserved for the American creative of Dominican origin, Raúl López, founder and creative director of Luar. As scheduled, Ricardo Seco made his debut on the revamped Barcelona catwalk this Thursday, April 16, the third day of official presentations for this edition of 080 Barcelona Fashion.

Seco, one of the most acclaimed and recognised voices in the Mexican and Latin American fashion scene, closed the third day of presentations at 080 as the international guest designer. Under this banner, he presented his activist collection “Migrant Pride”. It was constructed from newly created pieces, as well as reissues and updates of designs the couturier considers iconic and particularly representative of his 25-year career in fashion. This combination of new designs and pieces from previous collections added depth to both the proposal and the messages Seco aimed to convey to the audience. These were more than just protest statements. The designer delved into migration, drawing significant inspiration from the work “Borders” by Mexican-American photographer Mónica Lozano. He explored how the migration process can affect how we see ourselves and how others see us as individuals.

Although initially presented as a retrospective collection, Seco now clarifies that “Migrant Pride” is “more than a retrospective collection; it is a manifesto, a narrative of identity, resistance and visibility,” the designer noted in a statement from his fashion house. Combining new pieces with others “from various collections where I have maintained a constant commitment to sharing this pride,” the collection “also stems from a dialogue with Mónica Lozano's work ‘Borders’,” which was used to illustrate many of the designs. It “speaks of migrating; but also of what forces migration,” as well as “borders that divide, systems that exclude” and “labels that try to define who belongs and who does not” to a certain place. From this intimate perspective, it also “speaks of what it means to be Mexican, to be Latino,” and of having to “carry that meaning in territories where you are often not welcome.”

Between 'marian cloaks' and protest messages

From this discursive identity, Seco has placed everything that makes up the proposal at the service of this message of protest and awareness. When we say everything, we mean everything. This includes the colour palette used to shape the collection and the very nature of the patterns. These patterns connect with the urban aesthetic prevalent on the streets of Latin American countries or stereotyped as the “uniform” of Latino emigrants. It extends to the garments themselves, which, beyond images taken directly from Mónica Lozano's work, are adorned with messages proclaiming the “migrant pride” that gives the collection its name.

Delving into each of these elements, regarding colour, the collection is based on a chromatic symphony dominated by the green, white and red of the Mexican flag. To these shades, Seco has added “Mexican pink,” a colour associated with the country thanks to architect Luis Barragán in the 20th century; an orange that, in addition to connecting with Barragán's work, Seco presents as a transmitter of “energy”; and black as a symbol of “strength, sophistication and urban intensity”.

As for the garments and designs themselves, which are “genderless”, the designer used materials such as cotton, silk, wool and, above all, leather, which was used to create about 70 percent of the collection's pieces. The designs include jackets, capes, shirts, crop-tops and various styles of shorts. With these, Seco has reinterpreted both urban and traditional, stereotyped clothing from Latin American countries, along with some of the cultural elements most linked to that same attire. This exercise has resulted in powerful pieces and designs. These include capes and jackets whose cuts seem to imitate cloaks like that of the Virgin of Guadalupe—which illustrates one of the key garments of this “Migrant Pride” collection. It also features bags presented as reinterpretations of the bundles carried by migrants, marked with messages like “identity,” “dignity” or “freedom”.

This series of elements has given the proposal a “conceptual dimension”. This is precisely what has paved the way for several pieces presented on the 080 catwalk this Thursday to be incorporated into the collection of the Franz Mayer Museum in Mexico. From there, it is also expected that they will be curated and presented by the FIT Museum in New York as part of a cultural programme, although no further details have been released for now.

Presented for the first time exclusively at 080, each garment in this collection “is a statement”. Similarly, “each look is a way of occupying” a space often denied to migrants. From this activist standpoint, the Mexican designer points out, the genderless silhouettes “invite us to reflect in a space where freedom is not negotiated,” such as the street. He notes that streets “represent the true catwalks of the world” and “do not understand imposed rules, only identity.” From this perspective, “colour is not aesthetics” but is reclaimed as a “symbol”. In this case, “green, white and red as roots,” “Mexican pink and orange as living energy,” and “black as the hardness of the city” and “as the shadow that also builds us.” “This collection does not seek to fit in. It seeks to question” and “it does not ask for permission”. It does not do so “because being a migrant is not a weakness. It is an identity that is defended, honoured and worn with pride.”

London, United Kingdom, April 2026: During the 2026 TCS London Marathon weekend, New Balance, Official Apparel and Footwear Partner, will open London Run House, a community-led space celebrating the people who shape the city’s running culture and reflecting the brand’s belief that if you run, you belong. Bringing together athletes, crews, first-time marathoners and spectators alike, the space invites all who run to connect in a distinctly London way.

Located inside the iconic Somerset House on the bank of the River Thames, along the marathon route, London Run House will transform Somerset House’s Embankment Galleries into a state-of-the-art destination celebrating community, craft and performance.

Across the weekend, the space brings together athletes, run crews, marathon runners, spectators and London’s wider creative community to experience New Balance through a distinctly London lens.

Reflecting the energy of the capital, London Run House explores how the sport extends beyond clocking miles, through surfaces, typography, fabrication and shared experience. From immersive workshops and panel discussions to installations and screenings.

At the heart of London Run House is a cinematic documentary and portrait series created with London’s running communities that captures how the city prepares for marathon day across its boroughs.

The project follows crews across the capital as they train, gather and build momentum in their own ways ahead of the start line. Visitors are invited to experience the build-up across the city, where every borough prepares differently.

Directed by Joshua Simpkins and shot across boroughs including Greenwich, Battersea, Tower Hamlets and Lewisham, the film features real crews and communities as they gear up for the big day from riverside runs and art-led sessions to track training and culture-infused long runs, each story revealing a different side of London’s running culture.

Blending cinematic direction with self-captured footage from runners themselves, the film offers an intimate portrait of routines, rituals, pride and pressure as marathon day approaches.

The documentary sits alongside a portrait series from photographer Vivek Vadoliya, whose work documents members of Run The Boroughs, Runner Beans, Deaf Run Club, LES Running and 2-Step Collective, celebrating the people who bring the city’s running culture to life.

Together, the documentary and portrait series reflect New Balance’s belief that running culture is shaped not only by elite performance, but by the communities who move the sport forward every day. The project premieres inside London Run House on Friday 24th April, anchoring the weekend programme around the voices and experiences of the communities shaping the city’s running culture.

Developed together with London running communities including Runner Beans, LES Run, PASSA and Green Street Collective, the programming reflects New Balance’s commitment to creating spaces where runners of all levels, identities and motivations can feel represented and supported.

“At New Balance, our running vision is shaped by the athletes and communities who move the sport forward every day. London represents one of the most diverse and creative running communities in the world, and London Run House is designed as a space where everyone who runs can feel part of that energy, bringing together performance, culture and connection during marathon weekend.”- Kevin Fitzpatrick, New Balance Global Vice President of Running

More information on the programming open to the public can be found via the New Balance site here.

New Balance London Run House

Open to the Public | Friday 24th April – Sunday 26th April
Visitors can prepare, connect, recover and celebrate across the marathon weekend through:

Open throughout the 2026 TCS London Marathon weekend, London Run House will serve as a welcoming destination for runners and visitors alike, somewhere to prepare, recover, connect and celebrate together.

Reflecting New Balance’s belief that running belongs to everyone who runs, the space brings community, culture and craftsmanship together in one environment designed to inspire people to run their way.

Location

New Balance London Run House, Embankment Galleries, Somerset House, WC2R 1LA
Opening Hours

Sign up for what's on via: https://www.newbalance.co.uk/london-marathon-events-2026.html

Alongside London Run House, New Balance will activate marathon cheer zones at Mile 8, Mile 16 and Mile 25 with crew partners including Runner Beans, Deaf Run Club, Run The Boroughs, PASSA and LES Running, offering music, sign-making and community support to lift runners across their 26-mile journey.

Nominations for the Belgian Fashion Awards 2026 are now open, with Belgian designers, brands, and fashion professionals invited to submit entries until May 11.

Organised by Flanders District of Creativity, MAD Brussels, Wallonie-Bruxelles Design Mode, and Knack Weekend/Le Vif Weekend, the awards highlight the quality, creativity, and diversity of the Belgian fashion sector both nationally and internationally. The initiative aims to spotlight established names while also creating visibility for emerging talent and behind-the-scenes professionals, reflecting Belgium’s reputation for independence, individuality, and sustainability.

Following an expanded 2025 edition, nominations are now open across multiple categories, including Designer of the Year, Accessory Designer of the Year, Emerging Talent of the Year, Model of the Year, Creative Professional of the Year, Changemaker of the Year, Company of the Year, and the public-voted Love Brand of the Year. The Outstanding Achievement Award and Most Promising Graduate will be selected directly by the jury.

The winners of the 2026 edition will be announced during the awards ceremony on November 17, 2026.

Swiss watch exports contracted by one percent in March to 2.1 billion Swiss francs, driven down by the US market, according to figures published on Tuesday by the Federation of the Swiss Watch Industry (FH).

American market in decline

In March, exports to the US, the largest market for Swiss watchmakers, fell by 1.6 percent compared to the same period last year, the FH stated in a press release.

Conversely, shipments of timepieces to China continued to strengthen, recording an increase of 4.2 percent, while exports to Hong Kong also rose by 0.5 percent.

Shadow of conflict in the Middle East

For now, “the conflict in the Middle East has not yet affected watch exports to the United Arab Emirates,” the region's main market, the FH detailed. It specified that exports to the country grew by 0.7 percent in March. In contrast, figures plummeted for Saudi Arabia, down 16.8 percent, and Qatar, down 24.8 percent.

The Middle East accounts for 10 percent of Swiss watch exports, FH president Yves Bugmann stated last week at the Geneva watch show. According to Bugmann, regional tensions pose “an additional challenge for the watchmaking industry,” compounding uncertainties over US customs duties and Chinese consumer spending. “Everything depends on the direction this conflict takes,” he stressed.

Marked disparities in Europe

Watch exports do not reflect final sales to consumers, but rather the stock levels held by retailers for their boutiques. The industry's biggest names, including Rolex, Patek Philippe, Audemars Piguet and Vacheron Constantin, just concluded a week-long exhibition at the Watches & Wonders trade show on Monday.

In Europe, trends are mixed. Exports to the UK increased by 3.2 percent in March, while they declined by 8.5 percent to Germany and 16.8 percent to Italy.

Exports to France showed a spectacular jump of 72.4 percent. The FH, however, qualified this result, stating that it “does not reflect actual market growth, but rather re-exports to other markets”.

A new cross-industry initiative has been launched by major players in the circular fashion world that have set out to accelerate the adoption and scaling of textile-to-textile (T2T) recycled and next generation fibres.

The UK’s Fashion Pact and Dutch organisation Fashion for Good have come together to introduce the Circular Fibre Collective, an initiative addressing barriers identified in the currently “disconnected” supply and demand landscape for T2T fibres.

The organisations, acting with strategic insight from the Ellen MacArthur Foundation, said factors like fragmented demand, insufficient financing, a lack of well-developed recycling infrastructure and supportive policy frameworks was impeding the widespread adoption of such materials across fashion, requiring a collaborative approach to move forward.

According to a report by the Boston Consulting Group and Fashion for Good, however, up to two million tonnes of associated material could be achieved if fully mobilised across the sector. This, in turn, would help grow the share of these materials in global fibre production from less than 1 percent to 8 percent by 2030.

Through the collective, the organisations are providing a framework for brands and suppliers to facilitate voluntary forms of demand and create space for investment and supportive policies, striving for the mission of instilling more confidence in innovators, suppliers, and financiers to scale and invest in circular fibre solutions.

Two pillars form the collective’s framework. ‘Adoption enablers’, overseen by The Fashion Pact, zooms in on building voluntary forms of aggregated demand and supporting non-binding commitments.

‘Practical adoption tools’, meanwhile, intend to help brands overcome commercial barriers to adoption. These will include Fashion for Good’s Fibre Club and Toolkit, each pushing for commercialisation.

As the global market becomes increasingly complex, François-Henri Pinault's group is restructuring its governance. Kering has appointed Marie-Hélène Chenut, formerly of Chanel, and Laurent Kleitman of Mandarin Oriental to its board, opting for industry expertise and operational excellence in ultra-luxury.

The statement released on April 21, 2026, does more than just announce a reshuffle. It outlines the roadmap for a group determined to strengthen its execution. With luxury growth now “normalising”, Kering is banking on two individuals with highly strategic career paths.

Safeguarding desire: influence of the Chanel culture

Marie-Hélène Chenut's appointment is arguably one of the strongest signals sent to the market in recent months. After 35 years at Chanel, including a decade leading its Haute Couture division, she brings an understanding of product and image that defines French excellence.

In an era where luxury must justify its prices with unwavering desirability, her arrival on the board suggests a commitment to protecting and enhancing the intangible heritage of the group's houses, particularly Gucci. Her understanding of the expectations of a discerning international clientele is a critical asset for navigating an increasingly selective sector.

Laurent Kleitman: convergence of luxury and hospitality

The other aspect of this reinforcement is embodied by Laurent Kleitman. The current head of Mandarin Oriental possesses a rare and sought-after dual expertise, linking customer experience with the demands of profitability. His previous role leading Parfums Christian Dior and his expertise in emerging markets, such as Russia and Asia, provide him with a global perspective on consumer trends.

This appointment underscores a reality in the sector: luxury is no longer just about purchasing, it is about the experience. Customer experience, a hallmark of excellence in luxury hospitality, is becoming the new frontier for differentiation amid heightened competition.

Jean-Pierre Denis passes the baton

This renewal also marks the end of an era. Jean-Pierre Denis, a stalwart of the board since 2008, is set to step down after 18 years of service. A trusted figure for the Pinault family, former chairman of the audit committee and a pioneer on climate issues, he has overseen Kering's profound transformation from a distribution conglomerate into a global luxury pure-player. His departure closes a historic chapter, paving the way for a more technical and operational focus.

Governance aligned with international standards

If the resolutions are approved at the general meeting on May 28, the board of directors will be streamlined to 13 members. This smaller team demonstrates transparency and balance indicators that meet the highest market standards:

• Independence: A rate of 64 percent to ensure neutrality in decision-making.

• Gender parity: A proportion of 45 percent women, embedding diversity at the highest level.

• Internationalisation: Five nationalities to oversee a turnover that, in 2025 (14.7 billion euros), was generated across all continents.

Time for execution

Kering is no longer seeking just directors, but hands-on experts capable of supporting a consolidation strategy. By combining the high technicality of couture ateliers with the excellence of luxury hospitality, the group is equipping itself with a first-class operational compass. In an economic cycle where “easy” expansion is over, Kering intends to regain its advantage through brand image and customer experience.

The Original Factory Shop (TFOS) has closed all of its UK stores after collapsing into administration. The company has confirmed the closure of its 137 stores and Bolton headquarters, marking the end of its 50 years in trading.

Administrators from Interpath confirmed that the company would be winding down to the media earlier this month. The majority of TFOS’ 1,180 staff are now said to have been made redundant. Remaining employees have been retained to aid in the closure of the business.

A spokesperson for Interpath told GB News that stores were gradually shuttered due to TFOS’ financial situation. They added: “Without any viable offers to take the business forward, it was not possible for TFOS to continue trading and all remaining stores were closed on 4 April 2026.”

TFOS’ parent company, Modella Capital, rescued the retailer from administration last year but later succumbed to further financial pressure, leading to another filing. The group said TFOS had no profitable future despite any last-ditch rescue attempts, prompting the launch of closing down sales across the store estate.

US Customs and Border Protection (CBP) has launched the first phase of its new refund system for duties collected under the International Emergency Economic Powers Act (IEEPA), introducing the Consolidated Administration and Processing of Entries (CAPE) tool.

Now live via the Automated Commercial Environment (ACE) portal, CAPE allows importers and authorised brokers to submit refund claims through a single consolidated process, rather than on an entry-by-entry basis. The update follows recent court rulings directing CBP to remove IEEPA-related duties from certain imports and issue refunds.

The refunds relate to tariffs previously applied under IEEPA, which were introduced as part of broader US trade measures by President Donald Trump. Following legal challenges, courts ruled that certain duties should no longer apply, requiring CBP to reverse charges and return funds to importers, prompting the need for a more efficient, large-scale refund system.

Phase one of CAPE covers unliquidated entries and entries within 80 days of liquidation. Users submit claims by uploading a file with eligible entry numbers. The system validates the file, processes the submission, and assigns a claim reference. Once approved, CBP recalculates duties as if IEEPA charges were not applied, including interest on refunds.

CBP said the tool is designed to manage what it described as an “unprecedented volume” of refunds, streamlining processing for businesses affected by the duties. The organisation noted that valid claims are expected to be processed within 60 to 90 days, and issued electronically via ACH payments.

Further phases of CAPE are expected to expand functionality, with additional guidance to be released as the system develops.

British footwear brand Clarks has reported a return to the black for the financial year ended December 31, 2025. The Somerset-based company achieved an operating profit of 66.30 million pounds (89.55 million dollars), a significant recovery from the 18.10 million pounds loss recorded during the previous year.

The group attributed this performance to a rigorous focus on streamlining core processes and reducing structural overhead costs. While statutory turnover fell by 3.33 percent to 871.50 million pounds, the business successfully improved its profit before tax to 44.80 million pounds. This marks an 84 million pounds improvement over the prior year-over-year (YoY) loss.

Executive leadership and structural shifts

A pivotal moment in the year was the appointment of interim chief executive officer (CEO) Victor Herrero in June 2025. Under his direction, the brand focused on stabilizing the organization through disciplined cost control and a sharpened focus on product relevance.

Clarks underwent significant restructuring, which included exiting its distribution center in Venlo, the Netherlands, to improve network efficiencies. The company also streamlined its workforce and implemented a new global digital people platform, Dayforce, to manage onboarding and payroll across all regions.

Strategic expansion and product innovation

Despite unfavorable global market conditions, including high tariffs in the US and rising wage inflation, Clarks recorded positive sales achievement in its direct-to-consumer (D2C) channels. E-commerce in the UK and Republic of Ireland (ROI) and outlet stores in the Americas were highlighted as particularly strong performers.

The brand continued to pivot toward the global athleisure trend, launching three new franchises: Clarks Pace, Solevana, and Clarks Code. The company's lifestyle sub-brand Cloudsteppers opened its first standalone stores in the US and Malaysia, with further expansion planned for 2026.

The Asia Pacific (APAC) region proved to be a high-growth market, delivering double-digit sales growth and higher average selling prices compared to Western regions. The company also re-entered the Indian market during the third quarter of the financial year (FY25 Q3) to capture further market share.

In the UK, where the brand celebrated its 200th anniversary, a return to prime-time television advertising helped drive an uplift in market share during the second half of the year. However, wholesale remained challenging in UK and EMEA markets as partners managed inventory cautiously amid weak retail demand.

Financial position and future outlook

Clarks ended the year with a positive cash position of 48.40 million pounds and zero bank borrowings. The group’s financial position was further bolstered by the reclassification of 100 million pounds in preference shares from financial liabilities to equity in December 2025.

As the company moves into 2026, the strategy remains centered on driving sustainable, profitable growth. Key priorities include expanding non-footwear assortments, entering new markets, and identifying further operational efficiencies.

Clarks has launched a new digital marketplace, ‘Brands now at Clarks’, marking a notable step in its strategy to expand beyond footwear into a broader lifestyle offering.

The UK-based platform has introduced more than 100 partner brands to its e-commerce platform for the first time, allowing customers to shop across categories including womenswear, menswear, childrenswear, accessories and lifestyle products.

The curated selection is designed to complement Clarks’ core footwear range while responding to changing consumer demand.

Brand partners include global names such as Adidas, Nike, Hugo Boss and Tommy Hilfiger, alongside independent labels like Apatchy London.

In a statement, Joe Ulloa, vice president UK & EMEA at Clarks, said: “From the outset, it was essential that every brand partner reflected the values that have defined Clarks for over 200 years - premium quality, comfort and value.

“‘Brands now at Clarks’ represents an exciting new chapter for us. It allows us to offer a broader shopping experience, while staying true to the heritage and trust we’ve built.”

The launch builds on Clarks’ recent expansion into new categories, including back-to-school apparel and non-footwear items such as t-shirts and hoodies, as well as the continued growth of its Cloudsteppers concept.

Additional brands, including Armani Exchange and Lacoste, are set to join the platform in the coming weeks, as Clarks continues to develop its position as a multi-category lifestyle retailer.

New York City Economic Development Corporation (NYCEDC), in partnership with the Council of Fashion Designers of America (CFDA), has announced the continuation of its Fashion Manufacturing Initiative (FMI) with the launch of a new Local Production Fund, backed by a combined 1.7 million dollar investment.

The fund is designed to support New York City’s garment manufacturing sector by strengthening collaboration between designers and local producers, while driving growth in domestic production orders. Over a two-year period, the programme will provide credits to up to 21 manufacturers, supporting reshored production for as many as 43 designers across up to three seasons.

The initiative builds on the original FMI, launched in 2013 to modernise facilities, support workforce development and reinforce the city’s manufacturing base. Since its inception, the programme has invested 6.7 million dollars across more than 220 grants, impacting over 3,700 workers.

Jeanny Pak, interim president and CEO of NYCEDC, said: “Building on that growth, NYCEDC is proud to continue our partnership with CFDA through the new Local Production Fund, which will deepen collaboration between local designers and manufacturers, helping to drive production and ensure this vital industry continues to thrive in New York City.”

CFDA president Steven Kolb added: “At the CFDA, we are committed to supporting American designers not just creatively, but in building strong, sustainable businesses, and the Local Production Fund is a critical step in helping them access local manufacturing, build lasting partnerships, and grow within New York City.”

The programme has received early support from industry partners including the American Apparel & Footwear Association (AAFA) and retail executive Andrew Rosen, who said: “The Fashion Manufacturing Initiative, and now the Local Production Fund, is investing in and supporting this vital ecosystem. I'm excited and proud to be part of the continuation of such an important mission—one that helps ensure garment manufacturing in New York City continues to thrive.”

The launch also aligns with broader city efforts to support the Garment District through initiatives such as Midtown Made, which aims to connect businesses with resources and promote local production. In regards to the latest Local Production Fund, applications for manufacturers open on April 20, 2026, with designer applications following on June 23.

Komono partners with the young British designer Maximilian Raynor to translate his distinctive visual language into a series of expressive yet wearable frames.

First introduced on the runway during London Fashion Week as part of Maximilian Raynor’s Spring/Summer 2026 collection, “I’ll Cry If I Want To”, the collaboration now takes shape as a dedicated eyewear capsule. “With this collaboration, we wanted to translate a strong narrative into wearable design,” says Maximilian Raynor.

Blending personal memory with theatrical storytelling, the collection evokes a cinematic world where past and present collide, from ghostly birthday scenes and Royal Air Force pilots to 1920s silhouettes and handcrafted garments passed down through generations.

This distinctive vision was translated into a capsule collection of two styles (Rope & Core), each available in three colourways (Cognac, Maple & Black). Subtle yet expressive details such as metal accents and punk-inspired hardware reference Raynor’s signature design language, resulting in frames that merge emotional storytelling with functional, everyday eyewear.

The Komono x Maximilian Raynor collaboration will be available on the Komono webshop, in the Komono stores and in the stores of our trusted wholesale partners from the 26th of April.

The CAre project: vision and ESG strategy

For Canali, sustainability is a daily responsibility – a way of doing business rooted in its Italian manufacturing culture, in the care for people, and in a deep connection with the territory. This approach finds expression in the CAre project, through which the company translates ESG principles into tangible actions across the entire value chain, with the aim of generating a positive, measurable and lasting impact over time.

The project is part of a Sustainability Strategic Plan looking towards 2030, where sustainability becomes a lens through which every business decision is shaped, reinforcing the coherence between identity, innovation and responsibility.

Climate commitment and Science Based Targets initiative (SBTi)

A fundamental pillar of this commitment is Canali’s alignment with the Science Based Targets initiative (SBTi), which has approved the company’s greenhouse gas emission reduction targets for 2030, assessing them as aligned with international scientific criteria for limiting climate change.

Specifically, Canali commits to reducing absolute Scope 1 and Scope 2 emissions by 42% by 2030 (compared to 2023), acting on its operational activities through measures such as improving energy efficiency, increasing the use of renewable energy sources, and developing self-generation solutions[1].

At the same time, the company has set a target to reduce Scope 3 emissions – those linked to the value chain – by 25%, strengthening dialogue with supply chain partners and promoting greater integration of environmental criteria into procurement processes[2].

Adherence to SBTi thus reinforces a structured path for managing climate impact, based on methodological rigor, data quality, and collaboration across the entire supply chain.

People, communities and the transmission of know-how

Alongside the environmental dimension, the CAre project also develops strongly on a social level, placing people and their wellbeing at the center. In this direction, corporate welfare initiatives play a key role, including the Workplace Health Promotion (WHP) program, which encourages healthy and sustainable lifestyles through activities focused on movement, prevention, and psychophysical wellbeing, engaging the entire workforce in an inclusive way.

Canali’s commitment also extends to education through a structured system of collaborations. Within this framework, the “Adopt a School” project promoted by Fondazione Altagamma is complemented by a partnership with Istituto Secoli, launched to contribute to the training of future pattern makers through specialized technicians and a six-month internship within the company’s prototyping department. In the Marche region, together with the Salesians and industrial and institutional partners, with the support of Confindustria Ancona and Regione Marche, the IEFP Project for fashion operators has been developed to create professional training paths that integrate classroom learning, laboratory work, and up to 300 hours of direct experience within the company.

A set of initiatives aimed at transmitting advanced technical skills and making sartorial professions attractive again for younger generations.

Further strengthening the bond with the territory is the corporate volunteering program, which offers employees the opportunity to dedicate 16 hours of their working time to social and environmental activities. Among the initiatives, Canali collaborates with leading organizations already supported through Fondazione Canali, such as “Il Paese Ritrovato” by Cooperativa La Meridiana – the first Alzheimer village in Italy – and Fondazione Maria Letizia Verga, engaged in the treatment and research of pediatric hemato-oncological diseases. Employees actively participate in solidarity initiatives, reinforcing a model of shared responsibility and direct engagement. Although recently introduced, the program has already reached 431 donated hours.

Overall, the CAre project represents the expression of a business model that integrates manufacturing excellence and social responsibility, international vision and local roots. A path grounded in care – for work, for people, and for the environment – guiding Canali towards a sustainable, coherent, and shared future.

Interview Leicester Made is gearing up for a new edition this year under an expanded banner: Leicester Made & Regions. The shift is reflective of a broader movement underway across the UK, as manufacturing hubs in Manchester, Scotland and London seek to align under a shared push for domestic production.

What was once a city-specific showcase is now evolving into a national platform for UK sourcing amid a renewed interest in nearshoring and supply chain resilience. While brands have gradually re-engaged with domestic manufacturing since the disruption of Covid-19, recent geopolitical instability has accelerated decision-making.

“We were seeing engagement from brands,” Jenny Holloway, CEO of Fashion Enter and chair of the Apparel and Textile Manufacturers Federation (ATMF), told FashionUnited. “But there wasn’t a flurry of activity. Then suddenly…we had a surge of calls. Not just emails, calls asking about test and repeat models, about moving sourcing back to the UK.”

This latest spike, Holloway notes, followed escalating tensions in the Middle East, mirroring previous moments where rising oil prices or global uncertainty prompted brands to reconsider offshore production, but “not like this”.

As brands increasingly look closer to home for their production, the challenges facing domestic manufacturers has been a growing discussion point in the political and business landscape. A persistent narrative surrounding UK manufacturing is the so-called skills gap–according to Oxford Learning College, an estimated 20 percent of the workforce is projected to be underskilled for their jobs by 2030.

In Leicester, however, industry leaders argue the opposite is true. “What I’ve noticed about Leicester is that there actually is a ‘waiting-skilled’ workforce,” Holloway noted. In 2017, Leicester’s garment sector comprised around 1,500 factories employing 1,500 of workers, yet today hundreds of experienced machinists remain either unemployed or out of work.

For suppliers, the issue is therefore not capability but consistency of demand. “The factories need commitment to orders,” Holloway stressed. “That stability, whether it’s from the NHS or the military, is what allows them to plan, invest and retain workers.” This suggests a structural imbalance within UK sourcing, as brands continue to prioritise unit costs instead of long-term order pipelines, undermining the capacity they may later need to rely on.

The ATMF has already been actively involved in advocacy, backing initiatives like a recent parliamentary debate on reshoring production back to the UK. Since Holloway took the chair officially in August 2025, there has been a broadening viewpoint that has expanded ATMF beyond its prior sole focus on supporting garment workers, to now also backing factories to ensure job security.

Public procurement presents opportunity

One of the most significant opportunities for rebuilding UK manufacturing lies in public sector sourcing. The UK’s Public Procurement Act, which came into force February 2025, explicitly promotes local production, SME participation and social value. Yet Holloway notes that barriers still remain. “The contracts tend to be multi-million pounds. What small factory can compete with that?”

In response, the ATMF is facilitating a new limited liability partnership, bringing together 20 factories to collectively bid for large-scale contracts. The group has already submitted the first round of tendering for a 60 million pound UK public contract.

“Why are we making thousands of uniforms that sit in warehouses and get destroyed after five years?”

The stakes extend beyond economics, however, with inconsistencies still prevalent in current procurement practices, particularly in defence sourcing. “We believe military uniforms are being made in China, using fabric that’s actually produced in the UK and shipped out,” Holloway said. “But no one factors in the real costs of logistics, security risks, or waste.”

Holloway also highlighted inefficiencies in overproduction and stockpiling. “Why are we making thousands of uniforms that sit in warehouses and get destroyed after five years? Why not make them closer to demand?”

Rewriting Leicester’s reputation

For Leicester manufacturers, public procurement serves not just as a revenue stream, but a pathway to long-term industrial stability. To achieve this, however, the city’s reputation must also be strengthened.

Leicester’s garment sector has spent much of the past decade under scrutiny, following high-profile investigations into labour conditions. Allegations of underpayment, exploitation, money laundering and poor working environments have cast a shadow over the city’s manufacturing base. The launch of Operation Tacit in 2020 further intensified that scrutiny, bringing together multiple enforcement agencies to investigate claims of malpractice.

More recent findings have challenged the scale of these claims, however. A 2025 report by the UK’s director of labour market enforcement, Margaret Beels, concluded that while non-compliance did exist, its severity had been overstated and was not disproportionate compared to other sectors.

Having credited Beels’ report for exonerating Leicester, Holloway was also clear-cut in her perspective. “I would not chair the ATMF if I thought those claims were accurate,” she said. “They were exaggerated, and incredibly damaging to the livelihoods of factories and workers.”

“It feels as though large retailers have closed their ears to the bite of the machines,”

Holloway argued that the narrative has had lasting commercial consequences, deterring brands from engaging with Leicester and ignoring its capabilities, even as conditions improved. “It feels as though large retailers have closed their ears to the bite of the machines,” she added, a reference to the hum of factory production. “They should be re-looking at the vibrancy of Leicester and bringing production back.”

A new generation and capabilities beyond fast fashion

Another persistent misconception is that Leicester is limited to low-cost, fast fashion production, primarily jersey garments produced on overlock machines. In reality, however, manufacturers in the region possess a far broader skill set. “There’s an assumption Leicester can only manufacture fast fashion,” Holloway said. “But factories are producing woven garments and complex constructions. Scrubs during Covid are just one example of woven production.”

Fashion Enter’s training programmes intend to reinforce this capability. Through its Fashion Technology Academy, the organisation delivers Level 2 to Level 4 training in garment construction, including advanced techniques, such as French seams and double-turned hems. “These are highly skilled jobs,” Holloway emphasised. “All they need is repetition and consistent orders to build momentum.”

Attracting younger workers to engage with these techniques also remains a critical challenge, yet opportunities are emerging. Rather than traditional production roles, many younger entrants are drawn to repair, upcycling and circular fashion. “The younger generation is often appalled by fast fashion,” Holloway explained. “They’re interested in repurposing garments, in reducing waste.”

This shift is reshaping how training and recruitment are approached. Once engaged, many workers transition from creative repair into broader manufacturing roles. “We call them ‘universal workers’ now. They’re trained across multiple machines, which makes the work more varied and more fulfilling,” Holloway explained.

Building trust through transparency

Central to Leicester’s repositioning is a renewed focus on transparency and accountability. Through the Garment and Textile Workers Trust, initially funded through industry contributions, efforts have evolved from worker support to broader factory sustainability.

A key development is the development of a new digital platform designed to give brands deeper visibility into supplier operations. The website will also include a “trusted trader” system and an accompanying emblem for participating factories. “We want to move beyond certifications,” Holloway said. “Brands will be able to see recent orders and how they were processed. That’s real transparency.”

Alongside this, ATMF is introducing unannounced compliance-friendly visits, led by director TJ Hussain. “Audit systems are often just snapshots. TJ will act as a ‘critical friend’, supporting factories to improve, rather than penalising them,” Holloway added.

“The capability is here. The workforce is here. What we need now is commitment,”

For Leicester, and for UK manufacturing as a whole, the convergence of geopolitical uncertainty, policy shifts and changing consumer expectations presents a rare window of opportunity. There are early signs of cohesion within the industry, as local collaboration increases, aligning manufacturers, trade bodies and educators more closely. “We’ve never had this level of cohesion before,” Holloway said. “Bringing 20 factories together to bid collectively is new.”

Yet the success of this “Leicester Renaissance” ultimately depends on one factor: whether brands are willing to act. “The capability is here. The workforce is here. What we need now is commitment,” Holloway stated.

About Leicester Made & Regions 2026

All this will be addressed during the upcoming Leicester Made & Regions trade show, taking place April 24 at The Venue De Montfort University. Over the day, players across the industry will come together to back the shared mission of strengthening UK supply chains and accelerating the shift to sustainable, onshore, and technology-driven fashion production.

Alongside an exhibition floor housing manufacturers, textile suppliers, and other production partners, a line-up of industry experts will take to the stage to lead discussions and share insights on critical topics such as embedding innovation, evolving legislation, and the push for sustainability. Among the speakers are N Brown Group sustainability manager, Joseph Mountain; Mintel’s associate principal fashion retail research, Tamara Sender Ceron; and Source Fashion director, Suzanne Ellingham.

QVC Group, the US parent company of TV and social shopping firm QVC, has filed for bankruptcy after entering into a restructuring support agreement (RSA) with shareholders that hold a significant majority of its outstanding funded debt.

The deal includes a prepackaged financial restructuring plan designed with the intention of reducing debt and strengthening the company’s financial position as part of its ‘Win Growth Strategy’.

In order to move forward with this plan, the company and certain US subsidiaries, including QVC, Inc., have commenced voluntary Chapter 11 proceedings in the US Bankruptcy Court for the Southern District of Texas.

The RSA will allow the group’s debt to reduce from approximately 6.6 billion dollars to 1.3 billion dollars as it emerges as a newly deleveraged company, Reorganised QVC, Inc. The company is expecting to emerge from the financial restructuring within 90 days.

The group said its brands, including all channels and platforms for QVC, HSN, and Cornerstone Brands, will continue to operate as usual supported by “ample liquidity”. Vendor, supplier and unsecured creditor payments will be made possible via the RSA.

QVC Group’s international operations, including its customer-facing operations in the UK, Germany, Japan, and Italy, are not included in the process, and will remain operational.

QVC further confirmed that no layoffs of furloughs were planned in connection with the financial restructuring. Employees are expected to continue receiving wages and benefits uninterrupted.

The company said it would continue to focus on rolling out its three-year Win Growth Strategy, which has focused on pivoting the business towards emerging forms of video shopping, namely via social media and streaming platforms such as TikTok Shop, where QVC has become a top seller in the US.

The shift came as a response to the structural decline of traditional cable television, which had historically served at the foundation of QVC’s business model. As a result, the group has repositioned as a live social shopping firm, a strategy it says has already shown measurable results as customer numbers grow across new shopping formats.

The group has further consolidated its HSN and QVC operations, struck new deals with social and media partners, and rebalanced sourcing to account for the changing tariff environment, its president and CEO, David Rawlinson, said.

He further expressed appreciation for support from vendors, business partners, and team members, adding: “This process will allow for QVC Group to have the financial structure it needs to accelerate our return to growth.”

Lululemon is continuing to scale in Mexico where it has now officially launched a dedicated e-commerce channel to enhance customer experience. The site’s debut complements the Canadian company’s further plans to increase its store count in the region during fiscal year 2026.

In a press release, Lululemon confirmed that it is looking to open around 15 new stores across North America, including eight in Mexico. The locations will bring its Mexican store count to 30 by the end of the current fiscal year, responding to a continued growth seen in the market, the company said.

The latest plans build on ongoing strategic investments into the growth and evolution of Lululemon’s omnichannel experience, which has taken shape in both new and elevated stores and enhanced digital capabilities, its SVP and general manager of North America, Carla Anderson, noted.

“The momentum we are driving in Mexico reflects the strength and relevance of our brand within the community and signals the continued opportunity ahead as we build connected, engaging, and consistent experiences for our guests,” Anderson added.

The athleisure brand has already escalated efforts in Mexico through community-centric initiatives aimed at showcasing its regional strategy. In March, the company hosted the Lululemon 10K CDMX 2026 race that brought together 8,000 participants, while an earlier multi-day summit for ambassadors intended to strengthen brand affinity.

Now, the launch of lululemon.mx allows customers in the region to purchase the brand’s apparel, footwear, and accessories online, with a product assortment spanning men’s and women’s offerings.

The non-profit organisation Clean Clothes Campaign has initiated legal proceedings against Levi Strauss & Co. According to the organisation, the denim brand has misled consumers with statements about labour conditions in its supply chain, as stated in a press release. Four consumers are acting as co-claimants in the case.

The lawsuit was prompted by alleged abuses in a Turkish factory that produces exclusively for Levi’s, according to the organisation. In 2023, workers who participated in union protests there were reportedly confronted with intervention from local authorities and were subsequently dismissed. A group of workers has been demanding compensation ever since.

The Clean Clothes Campaign claims that in its communications with consumers, Levi’s has referred to responsible production and respect for labour rights, including freedom of association. The organisation points to findings from the Worker Rights Consortium and the brand's own code of conduct.

The case is supported by the Centre for Research on Multinational Corporations (SOMO), which has provided research. A date for the first hearing has not yet been set.

Increasing scrutiny of sustainability claims in the sector

The lawsuit is part of a broader trend where sustainability and ethical claims by fashion brands are increasingly facing legal and regulatory scrutiny. In 2023, several statements by Primark in the Netherlands were investigated by the Advertising Code Committee. This included communications in stores and on the Dutch website, which focused on themes such as equal opportunities and better conditions for garment workers.

The regulator ruled that several statements were misleading, partly because the claims were not substantiated with sufficient concrete evidence or because it was not made clear that they were future objectives. On appeal, the Board of Appeal upheld this ruling. The board stated that certain claims were “insufficiently substantiated” to assume that the ambitions would be realised in a timely manner.

The case illustrates how communication about sustainability and labour conditions within the fashion sector is being increasingly scrutinised for transparency and substantiation.

Levi’s has been contacted for comment; this article may be updated later.

British travel brand Antler has announced strong financial results for its fiscal year ending February 28, 2026, recording global gross sales of 52 million pounds (70.15 million dollars). The performance represents a 17 percent increase compared to the previous year and marks the fourth consecutive year of double-digit growth for the company. Since the 2023 fiscal year (FY23), the brand has nearly doubled its sales from 27.20 million pounds.

The upward trajectory was supported by robust performance across all primary sales channels. Global digital sales rose by 14 percent year-over-year (YoY), while wholesale revenue grew by 20 percent. This growth in wholesale was bolstered by the expansion of international retail partnerships.

Sustained momentum in global markets

While the UK remains the largest market for Antler with a 17 percent YoY increase in gross sales, the US has emerged as the fastest-growing region. Sales in the US increased by 83 percent during the period, driven by e-commerce performance and expanded wholesale agreements with retailers such as Nordstrom and Bloomingdale's. Since FY23, US sales have grown more than tenfold.

Australia continues to serve as the second-largest market for the brand, delivering 10 percent YoY growth. To further its international footprint, Antler signed new distribution agreements in South Korea, Saudi Arabia, and Malaysia. These moves aim to capture demand for premium travel products across Asia and the Middle East.

Strategic evolution into House of Brands

The London-based company, which is owned by Australian-based group Strandbags, is currently transitioning into a multi-brand entity. Following the acquisition of US travel brand Paravel in August 2025 and the international expansion of Nere, the group is positioning itself as a 'House of Brands' within the global travel and lifestyle category.

Antler chief executive officer, Kirsty Glenne, who was appointed to lead the House of Brands in March 2026, noted that FY26 has been a “defining year”. Glenne stated: “Our fourth consecutive year of double-digital growth reflects the strength of our brand, product and global strategy. The acquisition of Paravel marks an exciting step as we begin to build a house of brands, broadening our reach within the travel lifestyle category, while remaining rooted in our design-led heritage”.

Future retail and revenue targets

The brand opened doors to a flagship store on 100 Regent Street in London on April 21, 2026. Spanning two floors and over 2,400 sq ft, the new store is designed in collaboration with award-winning design agency Checkland Kindleysides. Located within London’s prestigious shopping district, Antler will join other iconic British brands, including Burberry and Mulberry, in its premium retail positioning. The opening also marks the introduction of the Antler Monogram, a new brand code developed from the interlocking geometry of Antler’s icon and brand mark.

Additionally, management is currently scoping new retail opportunities in the US for later this year. These developments are part of a broader strategy that includes a new global headquarters and increased marketing investment.

Looking ahead to the 2027 fiscal year (FY27), the group aims to build on its current momentum. Antler has set a formal revenue target of 100 million pounds by the 2029 fiscal year (FY29) as it continues its evolution into a diversified travel and lifestyle business.

The Fabricant has launched Design Forward 26, a global open competition inviting fashion students and recent graduates to build a full AI-native collection — with free platform access provided to every entrant.

Submissions are open now through 29 April 2026.

The competition is built on a direct premise: access to professional tools should not determine who gets to show their work. Every eligible entrant who submits a motivation statement receives two weeks of free access to The Fabricant platform, a starter credit allocation, a group onboarding session, and a workflow guide tailored to fashion students.

Entrants have until 29 April to submit a collection of three AI-generated looks, three detail shots, and a 200-word designer statement — all created exclusively using The Fabricant platform.

Levelling the playing field

AI is no longer a future consideration for fashion. Major brands are already integrating AI into design, sampling, and product development workflows. The designers entering the industry today will be expected to work with these tools from day one, yet access to them remains unevenly distributed. Students at well-resourced institutions or in major fashion capitals have opportunities that others do not.

Design Forward 26 addresses that directly. By giving every validated entrant free platform access, the competition removes the financial barrier and puts the same tools in front of every participant, regardless of institution, geography, or background. The entry gate is a 200-word motivation statement. The only question asked is: what do you want to make?

The industry is moving quickly. Students who graduate without hands-on experience with AI design tools are at a disadvantage before they have had the chance to begin. Design Forward 26 is designed to close that gap.

"The fashion industry is already being reshaped by AI, and the designers who will define what that looks like are in school right now. They deserve access to the tools that will be central to their careers, while they are still developing their voice. Design Forward exists to make that possible."

— Kerry Murphy, Co-founder and CEO, The Fabricant

AI and the knowledge of craft

One of the most important aspects of Design Forward 26 is what it asks designers not to abandon. AI tools can generate a vast range of visual outcomes but fashion is, at its core, a physical practice. A garment has to be cut, constructed, and worn. The knowledge of how fabric behaves, how a seam holds, how a silhouette is built does not disappear because a tool can render it in seconds.

This is why producibility is the most weighted criterion in the competition. Jury members will assess whether every look submitted could realistically be made. Collections that are visually compelling but structurally impossible will be scored down. The intention behind this is clear: AI should free up the creative process, not replace the designer's understanding of what is achievable. The industry needs designers who can use these tools to explore ideas faster and more freely, while remaining grounded in the realities of making. The collections that will matter — in a competition and in a career — are the ones that hold together both as creative vision and as feasible product.

Who can enter

Design Forward 26 is open to current students enrolled in any fashion, design, textile, or creative technology programme, and to graduates who completed their degree no earlier than 2021. There are no portfolio requirements at the point of entry, only a short written description of the collection concept.

The jury

• Kerry Murphy — Co-founder and CEO, The Fabricant
• Carsten Meijer — SVP, Vice Media
• Alex Høgh Nielsen — Digital Media and Marketing, BESTSELLER TECH
• Katrin Ley — Managing Director, Fashion for Good
• Nicolas Griffioen — AI Consultant
• Gloria Maria — Red-Eye and NABA
• Brigitte Stepputtis — Vivienne Westwood
• Lennard Minderhoud — CEO, FashionUnited

Prizes

The winner receives six months of free platform access and a featured interview on Digital Weave, The Fabricant's videocast. All the top ten finalists each receive 150 platform credits.

Winners will be announced on 15 May 2026.

How to enter

Submissions are open at thefabricant.com/designforward26. The deadline is 29 April 2026.

Circulose has announced an agreement with China Textile Academy Green Fibre (CTA) to offer lyocell fibers produced using Circulose® pulp. Producing lyocell from recycled pulp at commercial scale is an important step in making textile-to-textile recycled materials available across a wider range of textile applications.

Lyocell fibers are produced through a solvent-based spinning process and are valued for their strength, softness, and sustainability profile. The lyocell process operates in a largely closed-loop system, where the solvent is recovered and reused, making it one of the most environmentally favorable fiber production methods in the industry – even more so when produced from recycled raw material instead of virgin wood.

Through the collaboration, CTA and Circulose will offer brand partners lyocell fibers of both standard and non-fibrillating grades, both produced using Circulose® pulp.

Supply will be limited in 2026, with the ambition to scale capacity to meet demand during 2027. Commercial volumes in 2026 will be available only to selected brands, while those seeking access in 2027 are invited to engage in product development already now.

In addition to commercializing lyocell made with Circulose® under Circulose's license model, CTA has committed to purchase a set volume of Circulose® pulp over the coming years. Leveraging close collaboration between both parties, Circulose will achieve steady enhancements in Circulose® pulp performance and quality, while CTA will scale up the production capacity of recycled lyocell fibers through optimized manufacturing processes. By ensuring demand certainty for recyclers like Circulose, this kind of commitment enables the investment and scale needed to reduce costs and accelerate the mainstream adoption of circular textile fibers across the industry.

"Lyocell is a more sensitive process than viscose, making the use of recycled pulp more challenging," said Jonatan Janmark, CEO of Circulose. “CTA's ability to produce lyocell from Circulose® is a strong testament to their technical capabilities, as well as the performance of our pulp. We are very pleased to work with CTA to bring this opportunity to our brand partners and are excited by what it means for the broader adoption of circular materials."

CTA Green Fibre is a producer of lyocell fibers and part of the China General Technology (Group) Holding Co. Ltd., one of China's leading research and industrial platforms for textile innovation. CTA operates commercial-scale lyocell production facilities and has developed proprietary technologies for advanced lyocell fiber variants.

Rome - Italian fashion house Loro Piana, owned by French luxury giant LVMH, announced on Friday the early termination of its judicial administration by the Court of Milan.

“Loro Piana acknowledges the early conclusion of the judicial administration proceedings by the Court of Milan, ahead of the originally scheduled 12-month period,” the Italian cashmere specialist stated in a press release.

According to the brand, the court highlighted the “virtuous approach undertaken and successfully completed” by Loro Piana. This “clearly demonstrates the company's commitment to continuing its efforts” to protect “the health and well-being of all workers, including indirect workers”.

In July 2025, Loro Piana was placed under judicial administration for having “negligently facilitated” the exploitation of workers at subcontractors. According to the court's decision, this was due to a “widespread lack of organisational models and a deficient internal audit system”.

According to investigators, the house, renowned for its cashmere designs, outsourced garment production to a company with no production capacity. This company, in turn, used another company, which then engaged workshops employing Chinese workers in Italy to reduce costs.

In these workshops, undocumented workers were exploited without regard for health and safety legislation, particularly concerning “wages; working hours; breaks and holidays,” the judges stated.

“As soon as the (judicial administration) measure was implemented, Loro Piana strengthened its internal functions dedicated to supplier supervision... The House has also implemented enhanced procedures for supplier integration and continuous monitoring,” the luxury house added.

The Italian brand stated that since 2024, it has conducted “2,400 audits”. These led it to cease collaboration “with more than 100 suppliers and subcontractors who did not meet the House's requirements”.

Other major luxury names have also been temporarily placed under judicial administration in similar cases since 2024. The measure has since been lifted for brands such as Dior (LVMH), an Armani subsidiary and, more recently, Valentino Bags Lab.

Loro Piana, an Italian brand specialising in cashmere, vicuña and extra-fine wool, was acquired by LVMH in 2013.

Finnish artist and designer Vuokko Nurmesniemi, known for creating several iconic prints that became classics for the Marimekko brand, has died at the age of 96, her niece announced to AFP on Monday.

Architect of textile renewal

She joined the clothing, textiles and interior design company in 1953 and would lead the house's artistic direction alongside Maija Isola. Their shared vision defined the brand's DNA: simple, colourful patterns, featuring large flowers or graphic stripes.

Vuokko Nurmesniemi remained with the house for six years before founding her own eponymous brand, “Vuokko”, in 1960, where she would apply her talent for six decades. For Marimekko, she notably designed the famous unisex striped shirt “Jokapoika”, created from the Piccolo fabric, an iconic model still sold today.

She passed away on Sunday in the Helsinki retirement home where she lived, her niece Mere Eskolin told AFP. “She was truly a remarkable person and never compromised in her work. She always followed her own path without worrying about trends, with colours and patterns remaining her absolute priority,” she recounted.

Emancipation through cut and colour

Marimekko's clothing, particularly its loose, A-line dresses, marked a historic break from the corseted and sober post-war silhouettes. This liberated style even captivated Jacqueline Kennedy-Onassis, who made it one of her signatures.

“She was pregnant, so it was very nice to wear that kind of dress. It was not common at the time,” explains the artist's niece, referring to the 1960 US presidential campaign.

After the Second World War, Finnish design emerged from drabness thanks to her influence. “Everything was very dull, grey and black, then Marimekko and Vuokko brought colour... It was a visual revolution,” recalls Mere Eskolin.

An uncompromising legacy

The artistic legacy left by Vuokko Nurmesniemi is considered “immense” by her peers. “I know it's a huge responsibility, and I must take great care of it,” emphasises Mere Eskolin, who worked as the designer's assistant for twenty-seven years.

From her aunt, she says she learned “a great deal about life, honesty and self-confidence,” remembering above all a principle that guided the designer's life: “Always follow your own path and your heart.”

Alongside a curated selection of shining home decor, Swarovski announces the debut of The Quest for Light, an immersive illustrated book, unveiled exclusively at Salone del Mobile.

Co-authored by Markus Langes-Swarovski and created in collaboration with acclaimed illustrator Hiro Kamigaki, and his studio IC4DESIGN, The Quest for Light captures the magic of Swarovski with shining imagination.

Narrating the story of the battle between light and darkness, the book takes readers on a seek-and-find journey from Swarovski’s home in Wattens, Austria to global destinations in search of the four great crystals of the world – Trust, Love, Courage, and Creation – to fight the dark and help the world shine bright.

Rendered in exquisite, illustrative detail and color, the book features a beautiful selection of Swarovski figurines, jewelry, and notable locations in the House’s storied history.

Complementing the launch of The Quest for Light, Swarovski celebrates its home collection at Salone del Mobile with a curated selection of crystal figurines that feature in the illustrated book.

Swarovski’s home collection, celebrating its 50th year, honors the House’s unparalleled creativity, innovation, and infinite savoir-faire, enjoying a highly collectible reputation. Nature-inspired figurines and myriads render the beauty of the natural world in exquisite detail and color, tableware breathes a contemporary cool into the art de la table, and Swarovski home décor forms the heart of gift giving for every season.

The Quest for Light illustrated book, and its accompanying home décor selection, will debut in Milan at Swarovski Duomo Flagship during Salone del Mobile in April 2026 and will be available for purchase in selected locations worldwide.

UK-based diversified group Associated British Foods (ABF) has announced a definitive plan to demerge its retail business, Primark, from its food operations. The decision follows an in-depth strategic review initiated in November 2025 and is intended to be completed before the end of the 2027 calendar year. The demerger is supported by ABF’s largest shareholder, Wittington Investments, which intends to maintain majority ownership of both entities.

The board believes the separation will allow both businesses to be overseen by boards directly aligned with their specific industry dynamics and strategic priorities. ABF chairman Michael McLintock stated that the move is the best way to maximise long-term returns for shareholders, reflecting the current scale of Primark and providing a clearer investment proposition for the food business.

On completion, George Weston will serve as the chief executive officer of FoodCo, which will retain the Associated British Foods plc name, while Eoin Tonge has been appointed as the CEO of Primark.

ABF announces Primark demerger following interim results

The announcement coincided with interim results for the 24 weeks ended February 28, 2026, which showed a challenging first half for the group. Retail segment revenue grew by 2 percent to 4.7 billion pounds (6.35 billion dollars), though adjusted operating profit fell 14 percent at constant currency to 471 million pounds. Primark's adjusted operating margin decreased to 10.1 percent from 12.1 percent in the prior year as the company managed higher markdowns and increased investment in digital and technology initiatives. Like-for-like (LFL) sales declined by 2.7 percent globally during the period.

In the UK, Primark demonstrated resilience in a difficult market, delivering LFL sales growth of 1.3 percent and increasing its market share to 7 percent. This performance was attributed to a re-energised customer proposition, including the ‘Major Finds’ value initiative and the expansion of the nationwide click and collect service. Conversely, trading in continental Europe remained weak with LFL sales declining 5.6 percent, impacted by low consumer confidence and a difficult retail environment, particularly in Germany. The US market remained a growth driver, with sales increasing 12 percent following the opening of five new stores.

At a group level, revenue decreased 2 percent at constant currency to 9.5 billion pounds. Adjusted operating profit declined 18 percent to 691 million pounds, largely due to significant losses in the sugar segment and the expected decline in retail margins. Adjusted earnings per share fell 15.4 percent to 70.7p.

Outlook and impact of Middle Eastern conflict

Looking ahead to the spring/summer 2026 (SS26) season, management reported an encouraging start in March, though trading softened in April as the impact of the Middle East conflict began to affect consumers. The group continues to target "white space" growth of 4 percent to 5 percent per annum through new store rollouts for the foreseeable future. For the full year, ABF maintains its outlook for Primark, with an expected adjusted operating profit margin of approximately 10 percent.

The group is currently managing the impacts of the Middle East conflict, which has caused volatility in energy and freight prices. While Weston noted that the cost consequences for 2026 are expected to be manageable, there remains a risk to Primark sales if consumer spending further deteriorates.

To mark the launch of their new collaboration, premiering on 21 April, Nordic lifestyle brand ARKET and New York-based artist Laila Gohar present a co-created public installation at Giardino delle Arti in Milan during this year’s design week. Part sculpture, part interactive stage set, the work centres on a reimagined fairground ride, with its figures replaced by oversized fruit and vegetables – bringing together a shared interest in food, playfulness and everyday beauty, shaped through Gohar’s theatrical language.

‘We wanted to create something open and inclusive – something that invites people in, rather than asks them to observe from a distance. A carousel felt like a natural way to do that. It’s familiar, physical, and meant to be shared. I’ve always been drawn to the idea of beauty as something accessible in the everyday, often shaped by surprise and excitement, which made this collaboration feel very natural’, says Laila Gohar.

The original ride is an antique carousel, originating from Wiesbaden in Germany – a historic centre of woodworking craftmanship – and is believed to date back to the late 1700s. Passed down through generations of the Degli Innocenti family, it represents a disappearing tradition of fairground engineering and artisanal design, with only a few examples surviving today.

Starting from the existing carousel, the installation replaces the original figures with oversized fruit and vegetables, shaped through minimal intervention. Defined by scale, placement and a single clean cut that enables seating, the forms remain otherwise intact – presented as solid, recognisable and culturally familiar objects.

The carousel opens to public on Monday 20 April and will run 20–24 April, 12–8PM, during Milan Design Week. Treats from ARKET CAFÉ will be served throughout the day, and all visitors to the park will receive a ticket redeemable at the ARKET Milan store for an exclusive giveaway.

The ARKET and Laila Gohar collaboration launches on 21 April and marks the artist’s debut in ready-to-wear. The collection spans 27 pieces, blending Gohar’s idiosyncratic interpretation of beauty with ARKET’s focus on practical design, designed for moments that move between the everyday and the exceptional.

German sportswear provider Puma SE is strengthening its team with a former executive from competitor Adidas. On Monday, the company announced the appointment of Laurent Fricker as vice president of the sportstyle business unit. Fricker will take up his new position on June 1 and will report directly to chief brand officer Maria Valdes.

According to Puma, the new appointee has more than 20 years of industry experience gained at the sportswear group Adidas AG. There, he held various management positions at the Adidas and Reebok brands. Most recently, Fricker was vice president of originals, basketball and partnerships Europe at Adidas. He announced his departure a few weeks ago.

Fricker's future superior, Maria Valdes, explained the personnel decision. “Laurent has a great track record of combining authenticity in sport with a strong understanding of trends to develop sought-after products,” she explained in a statement. “With his deep understanding of culture, storytelling and his go-to-market expertise, I am confident that he will further strengthen the sportstyle business unit and thus contribute to Puma's growth.”

A collective call to reconnect with the ground beneath us

Vivobarefoot launches its latest global campaign, a powerful and unifying statement challenging the dominance of “big shoe” culture and inviting a return to something more instinctive: feeling.

At the heart of the campaign is a collective of global ambassadors - each a pioneer in their field - who have arrived at barefoot footwear through deeply personal journeys. Featuring Mack Hollins (US), John John Florence (US), Eva Zu Beck (US) Tati Gabrielle (US), Gerald Demolsky (DE), Ross Edgley (UK), Laura Crane (UK) Daisuke Ichimiya (JAPAN) the campaign brings together voices from sport, exploration, and culture in a shared moment of reconnection.

Set against raw, elemental landscapes - wind, earth, water, and stone - the visuals strip everything back. Each ambassador stands grounded, holding bold banners emblazoned with thought-provoking statements such as: “If you can’t feel the ground, how do you know where you stand?”

This is more than a campaign – it is a manifesto

In a world dominated by over-engineered footwear and disconnection from natural movement, Vivobarefoot challenges the status quo. The campaign confronts the idea of “big shoe” head-on, rejecting excessive cushioning and control in favour of sensory feedback, natural strength, and a deeper relationship with the environment.

Each ambassador’s story reflects this shift. From the precision and flow of surfing to the endurance of trail running, from elite sport to extreme exploration, their paths converge on a singular truth: reconnecting with the ground changes how we move, think, and feel.

This collective moment captures a quiet rebellion - one that reclaims autonomy from an industry built on disconnection. Together, they take back power not through more, but through less: less interference, less barrier, less noise.

The campaign underscores Vivobarefoot’s ongoing mission to reconnect people to the natural world - starting from the ground up. By restoring the foot’s innate ability to feel, adapt, and respond, barefoot footwear becomes more than a product; it becomes a tool for awareness.

Actress Tati Gabrielle

Vivobarefoot asked me, “What does freedom mean to you?” And I thought, “Well that’s a loaded question…” Freedom means different things depending on where you are in the world.

An inside look at fashion supply chains

At the Copenhagen International Fashion Fair (CIFF), a major fashion event in Northern Europe, CIFF Media highlights the profound transformations shaping the industry through a video podcast dedicated to fashion tech and supply chains.

In a context where fashion is becoming increasingly demanding in terms of lead times, quality, and international coordination, supply chain management has become a strategic priority.

In this episode, two experts share their experience:

• Kaat De Jaeger, Supply & Quality Manager at Bellerose
• Caroline Anziutti, upstream supply chain expert at e-SCM

This podcast sheds light on the concrete transformations taking place in the supply chains of European fashion brands.

Podcast summary

Bellerose, a Belgian brand experiencing strong international growth, faces increasing supply chain complexity, particularly due to the large number of suppliers and the challenges of quality management.

To address these issues, the brand relies on e-SCM, a digital platform dedicated to upstream supply chain management.

Key takeaways:

• Digitalization provides better visibility over operations
• Centralized data improves decision-making
• Supplier collaboration becomes smoother
• Processes become faster and more reliable

Result: a more agile, better-managed supply chain capable of supporting the brand’s growth.

Watch the podcast:

Bellerose: Managing an international supply chain from Belgium

Known for its elegance and premium positioning, Bellerose works with a wide network of international partners.

This organization involves:

• Complex coordination between suppliers
• Rigorous quality monitoring
• Strong pressure on deadlines

The challenge: structuring and securing operations while maintaining flexibility and responsiveness.

e-SCM: A platform serving upstream supply chain management

About e-SCM Solutions

To address these challenges, e-SCM offers a solution dedicated to managing sourcing operations.

The platform enables:

• Centralization of all order-related data
• Tracking of production and shipping stages
• Easier communication with suppliers and freight forwarders

e-SCM acts as a digital hub, connecting all stakeholders in the supply chain.

Smoother supplier collaboration

One of the key benefits observed at Bellerose concerns supplier relationships. Thanks to digitalization:

• Information is shared in real time
• Errors related to manual exchanges are reduced
• Teams gain efficiency

This fosters more transparent and high-performing collaboration.

Optimizing time-to-market through data

In fashion, speed of execution is critical. With e-SCM, Bellerose can:

• Anticipate delays
• Secure production timelines
• Improve planning

Data becomes a key lever to accelerate time-to-market and reduce risks.

Move to a more efficient fashion supply chain

Do you want to improve the visibility and performance of your fashion

supply chain?

Discover how a solution like e-SCM can help you digitalize your operations and streamline collaboration with your suppliers.

Managing a complex supply chain?

Schedule a meeting with an e-SCM expert to identify optimization levers and accelerate your digital transformation.

Conclusion: A data-driven supply chain

The Bellerose example shows that digitalization has become essential. With e-SCM, the brand gains in:

• Visibility
• Collaboration
• Efficiency
• Performance

An inspiring model for all European fashion brands.

California Attorney General Rob Bonta has released a series of unredacted court documents detailing how US e-commerce giant Amazon allegedly pressured fashion and lifestyle brands to inflate prices across the retail market. The filings, part of an ongoing antitrust lawsuit in the San Francisco Superior Court, implicate major industry names such as Levi Strauss & Company (Levi’s) and Hanesbrands (Hanes) in a systematic effort to prevent competitors from undercutting Amazon’s pricing.

The evidence suggests that Amazon leveraged its dominant market position to monitor prices on rival platforms, including Walmart and Target. When lower prices were detected, Amazon reportedly compelled brands to intervene with those retailers to secure price increases, threatening them with reduced visibility or delisting on the Amazon marketplace if they failed to comply.

“The evidence we've uncovered is clear as day: Amazon is working to make your life more unaffordable. The company is price fixing, colluding with vendors and other retailers to raise costs for Americans beyond what the market requires — beyond what is fair,” said Attorney General Bonta in a statement.

Pressure on apparel leaders Levi’s and Hanes

Newly unsealed communications highlight the specific roles of prominent US apparel firms in these pricing dynamics. In 2021, an Amazon employee reportedly flagged 'styles of concern' to a counterpart at Levi’s, referencing khaki pants priced lower on Walmart.com. Following the exchange, the Levi’s representative confirmed that Walmart had partnered to raise the price of the Easy Khaki Classic fit to 29.99 dollars, describing the move as being in the ‘best interest of the marketplace’.

A similar pattern was observed with US-based basic apparel manufacturer Hanes. Court records show that in 2022, Amazon sent Hanes direct links to lower-priced items on the websites of Target and Walmart. A Hanes employee subsequently confirmed the brand had “reached out to Target and Walmart to have the prices increased” to align with Amazon’s expectations.

Rob Bonta said his office released the new filings Monday to demonstrate how Amazon “coordinates” with vendors and major retailers—including Target, Walmart, Chewy, Best Buy, and Home Depot—to drive price increases across the market.

Strategic implications for fashion executives

The legal challenge, which is set to go to trial in January 2027, poses significant questions for the fashion industry’s distribution strategies. For executives at brands like Levi’s and Hanes, the allegations highlight the risks of maintaining price parity across multiple retail channels under pressure from a dominant platform.

Bonta is currently seeking a preliminary injunction to halt these practices immediately. For the fashion sector, the outcome of this case may redefine the boundaries of wholesale partnerships and digital commerce compliance.

Interview

Lisa Krage is the founder of Swiss Performance Systems and a specialist in performance coaching and corporate health. She develops measurable performance systems for high-performers in demanding positions and for ambitious companies. Her approach is based on scientific stress and performance diagnostics, methods from elite sports, and over a decade of experience in international business environments. Her motto is: health and success are not mutually exclusive; they go hand in hand.

Before going freelance at the end of last year, she held various roles in the sporting goods industry. She first worked for the German group Adidas and most recently as brand communications and athletes lead for Europe, the Middle East and Africa (EMEA) at the Swiss sports brand On. She experienced first-hand what modern leadership demands of the body and what separates the best performers from the burnt-out. She also knows high performance from her own experience as an active competitive track runner.

Today, she combines these two worlds in Swiss Performance Systems. FashionUnited spoke with her about how stress measurably impairs creativity and performance and what tips she would give to leaders in the fashion industry.

You are active in stress diagnostics and performance consulting. what are your initial tips for companies to promote the wellbeing of their employees?

My first tip is to measure, not guess. In business, we make data-driven decisions every day on turnover, growth, and margins. So why not do the same when it comes to health?

We are all familiar with health days, sleep lectures, and resilience workshops. The problem is that most of these initiatives are measured by the number of participants, not by their impact. This is why most corporate health managers I speak to have difficulty expanding their resources. No data, no demonstrable impact, no budget.

Have you had similar experiences in your career?

Yes, I have experienced this myself. We once invested 10,000 Swiss francs in a sleep expert. It was a two-hour presentation, well-attended, with good feedback. My honest assessment in retrospect is this: if those two hours do not lead to concrete behavioural changes, such as a commitment to eight hours of sleep daily or regular bedtimes, it would have been more beneficial for the employees to simply sleep for those two hours.

This is not a criticism of sleep experts. It is a criticism of the system. As long as corporate health is not measured with KPIs like any other area of the business, it will remain a nice add-on instead of a strategic infrastructure. First, we need data instead of generic wellness offers to understand where performance is truly being lost. Only what is measured can be addressed, allowing us to allocate resources meaningfully.

What structural problems that burden employees are deeply rooted in fashion companies?

The fashion industry thrives on cycles: fixed deadlines, seasonal collections, and the constant pressure of the next season. Developing a new product in the sports-fashion industry typically takes two years, from concept to launch. Simple colour updates are quicker; new innovations take three or more years. The fashion calendar is tightly scheduled.

What is often forgotten is that high performance requires recovery. In competitive sports, no one would expect athletes to be in competition form for twelve months straight. A regeneration phase always follows the competition phase. The sports-fashion industry is different. Here, fashion shows, marathons, and campaign launches follow one another in quick succession. This is a structural problem.

Are there specific consequences caused by chronic stress that you particularly notice?

What I see in many of my clients' profiles, I also know from my own experience. I worked in a high-performance environment for years and ignored the classic warning signs. I powered through the day with coffee, worked while sick, and then, when I finally went on holiday, I would immediately fall ill. This is no coincidence. The body waits until it can 'allow' itself to rest and then catches up on what it has suppressed.

This is the exact same pattern I see in most high performers: the lost ability to 'relax'. The classic statement is: “I come home and just can't switch off.” This is not a character problem; it is biology.

What is behind this?

We are talking about a dysregulation of the stress response system. The body is permanently in a sympathetic or activated state, in 'always on' mode. The research here is clear: studies show that work-related chronic stress is consistently linked to an increased heart rate, elevated cortisol levels, and reduced heart rate variability. The body literally loses the ability to switch flexibly between tension – the 'fight-or-flight' state – and recovery – the 'rest-and-digest' state.

What would you recommend to leaders in the fashion industry to reduce the long-term effects of stress?

First, assess the current situation. What is the state of my body's resources? What are my stress patterns? Can I still regulate myself, and if so, what truly helps me do that? Various measurement methods are available for this, from long-term ECGs and biomarker tests to surveys.

According to studies, a healthy lifestyle can significantly reduce the risk of certain chronic diseases and considerably increase life expectancy. Some longevity clinics even speak of an 80 to 20 ratio. 80 percent of our health is said to be influenced by lifestyle, environment, and habits, while genes account for a maximum of 20 percent. So, one's own sphere of influence is huge.

What is the next step once the current situation has been determined?

Then it is the basics that make the difference. Not cryo-chambers or expensive infusions, but sleep, exercise, nutrition, and social contact. I am not just speaking from scientific conviction, but from my own experience. I used to start my training on an empty stomach and skip meals when things got stressful. I then wondered why my energy levels were so low in the afternoon. Today I know it was not a problem of willpower. Unstable blood sugar creates stress in the body, which can feel like anxiety or even panic.

The crucial question is: how do I make these basics my standards so that they can withstand a stressful work week or a business trip? For example, I always travel with running shoes and choose hotels with a gym. That sounds simple, but it is an attitude. I will say it openly: I would not choose an employer who does not actively create a framework that promotes my health and performance, and where the healthy choice is easier than the unhealthy one.

Designers balance creativity with the pressure to finish collections. at what point does physiological stress block the creative process?

The body and mind cannot be separated. Stress is multidimensional and always biological. Every negative thought, every deadline, every conflict triggers a biochemical reaction in the body. Catecholamines are released, the heart rate increases, cortisol rises, and the brain switches to survival mode. In survival mode, creativity is the last thing resources are used for. Chronic stress destroys the very mental state that creative work requires. In survival mode, one reacts rather than creates.

I thrive under short-term pressure, just like in a competition. I learned that from competitive sports. I am very efficient and solution-oriented then. However, with prolonged stress, I notice a significant decline in my creative abilities. The capacity of my nervous system is very limited then.

Are there parallels between elite athletes and executives?

Absolutely, and that is the core of my approach. I see executives as elite athletes – the business athlete. Both are under constant pressure and both depend on peak performance.

Let's take a concrete example from sports science. A fluid loss of just one to two percent of body weight measurably impairs performance, affecting concentration, strength, and reaction time. For athletes, running ten seconds below their personal best would immediately raise an alarm. In the corporate world, we ignore warning signs every day.

The difference between athletes and executives? Athletes are supported with diagnostic tools, recovery protocols, mental coaching, and nutritional expertise. I had the honour of helping to build such a system at the sports brand On: the '360° Athlete Support' programme. My goal is to transfer this principle to the business world.

What lessons did you take away from your time at On?

My most significant lesson from more than nine years in the sports industry is: culture beats motivation. Motivation is fleeting; it works when everything is easy. Culture is what sustains you when things get difficult.

I have experienced first-hand how an environment where healthy choices are the norm, such as running during the lunch break, a fresh, healthy canteen, and walking meetings, can make a difference. It led me to build habits that I probably would never have maintained so consistently on my own. The environment does the work for you. This has completely changed my perspective on sustainable performance and is now the foundation of my work with executives and companies.

Artificial intelligence (AI) is increasingly being integrated into creative and business processes. do you see these tools as a remedy for stress or as an additional pressure, as expectations for performance and speed increase?

That depends on how you use it. I have personally never been afraid that AI would replace my job. I have a very strong growth mindset and am constantly learning and developing. Anyone who is afraid of AI today should ask themselves: what are my strengths that AI cannot take over in the near future? What are the human skills that will become even more important in the future?

AI accelerates output, such as data analysis, structuring, and text creation. However, human capacities like stress regulation for strategic decisions under pressure, emotional intelligence for building business relationships, and a high-performing, healthy body for the necessary self-confidence cannot be automated in the near future. This will be the decisive competitive advantage in the coming years.

To what extent can stress diagnostics help to promote productivity or reduce error rates?

I see stress diagnostics as a tool to expand human performance capacity and as an early warning system for burnout. I know from my own experience how long you can ignore these warning signs. Being ill on holiday, feeling like you can never really switch off, waking up exhausted in the morning even though you have slept: these are not just feelings, they are measurable biological states.

Studies show that burnout patients exhibit altered cortisol patterns months in advance. Those who read these signals early can react before the damage occurs. It is not for nothing that the World Health Organization has described stress as the 'health epidemic of the 21st century'. The figures are clear: a single case of burnout costs a company four to six months' salary in lost work, and that is just the tip of the iceberg. In addition, there are losses in productivity, staff turnover, and damage to reputation. This can add up to several million per year, depending on the size of the company. That is why I see corporate health and stress diagnostics not as a cost centre, but as risk management.

This interview was conducted in writing.

British designer Amanda Wakeley, known for her ‘clean glam’ eveningwear, is making a foray into the premium contemporary category with an exclusive collaboration with John Lewis Partnership, launching on April 21.

The Amanda Wakeley line at John Lewis has been developed in collaboration with the designer and the brand development and licensing platform Radius Brands, which was brought on to expand her brand through strategic retail partnerships.

The collaboration with John Lewis marks a strategic move for the designer into premium contemporary retail and will feature elevated wardrobe staples crafted in silk, viscose and lace, including fluid tailoring, such as bias-cut satin and lace slip dresses and Wakeley’s signature Air silk wrap shirt, positioned to meet demand for versatile, wardrobe-led investment pieces.

In a statement, Wakeley said each piece of the collection reflects her “core design codes,” reimagining her brand within the accessible luxury segment, targeting John Lewis’ premium customer with “precision cut, fluid movement and confident femininity”.

"I have always believed in creating timeless pieces that empower women through simplicity, precision and elegance,” said Wakeley. “Partnering with John Lewis allows us to bring that philosophy to a wider audience while maintaining the quality and craftsmanship that define the brand. This collaboration marks an exciting new chapter for the brand, one that honours our heritage while evolving how and where women experience Amanda Wakeley.”

Amanda Wakeley works with Radius Brands to launch an accessible luxury collection at John Lewis

Sitting between designer and contemporary, the collection reflects “modern luxury, effortless, refined and wearable,” adds Wakeley, tapping into a segment increasingly defined by customers seeking longevity and quality, at a more considered price point, a space that is seeing renewed momentum as luxury recalibrates and consumers become more selective.

The spring/summer 2026 collection focuses on elevated essentials, signature tailoring and modern silhouettes designed “for longevity and repeat purchase,” crafted in luxurious fabrications including silk and viscose blends, and at a price point designed to bridge designer and contemporary labels. The hero product, the Air wrap silk shirt, will retail for 350 pounds, while the bias cut lace and satin slip dress is 395 pounds.

Rachel Morgans, director of fashion at John Lewis, said: “We are delighted to welcome Amanda Wakeley to John Lewis, a partnership built on a shared passion for design excellence.

“The collection elegantly offers pieces that are as special as they are wearable. It is a privilege to offer our customers exclusive access to Amanda’s world, specifically her impeccable precision in tailoring and the expert craftsmanship that defines the collection.”

Damian Hopkins, founder and chief executive of Radius Brands, added: "Amanda is one of Britain’s most respected luxury designers, with a clear and confident aesthetic that resonates with today’s customer.

“This exciting partnership with John Lewis is about bringing true designer integrity into a broader retail environment without compromising quality or brand DNA. At Radius, our role is to build sustainable brand platforms, and this Amanda Wakeley launch marks a significant milestone in our next chapter of growth."

The Amanda Wakeley at John Lewis collection forms part of the British department store’s ongoing repositioning of its fashion floor towards higher-value, design-led product and will launch online and in 10 UK John Lewis stores on April 21. The stores include Oxford Street and Peter Jones in London, Cheadle, Edinburgh, Kingston, Liverpool, Cambridge, High Wycombe, Glasgow, and Cheltenham.

I thought I understood the industry; its culture, its quality and its lack thereof. I knew the ateliers in Italy where you would discuss the quality of an espresso while standing next to an ironing machine that shaped a Prada blazer in twelve minutes. I knew the production sites in Belgium where the quality of the product and that of the people who made it could be mentioned in the same breath. I knew the working conditions within the production of high-end designerwear, in the world called Europe.

Years later, I watched “Blood, Sweat and T-shirts”. The Dutch tv-series follows six young people with a passion for clothing as they are introduced to garment production in India. What made the series so unsettling was its structure. The viewer goes through the exact same process as the participants, from openness to discomfort to horror. That series made everything I thought I knew collapse like a house of cards. After years as a fashion professional on all sides of the table—in factories, ateliers and classrooms as a developer, designer and lecturer—I was blown away by the discovery of a world behind the one I knew.

The first factory looks more or less as you would expect: organised, perhaps a little messier, functional, but certainly not what you would fear from a sweatshop. That is precisely the trap. The first factory immediately activates “confirmation bias”: the brain recognises what it already knows, draws a parallel with the places it trusts and concludes: you see, it is not so bad. Then comes the second factory. Less light, longer days, younger faces. This is where the discomfort begins. A tempting thought follows: these people have jobs, they support families, who are you to judge? This thought feels like cultural sensitivity. That is precisely why it is so dangerous. It is an emergency exit that keeps you exactly where you were. Only then do we arrive at location three, in the third factory. This is a place that exists because the first factory cannot handle the demand for cheap ready-to-wear, and the second still finds production costs too high for our insatiable hunger for more, and cheaper, and cheaper still. The third factory is a place you would normally never see. Here the question becomes unbearable: not whether you are allowed to have an opinion, but how it is possible that you did not know for so long. I remember the image of a sleeping teenager—or even younger—next to a machine, surrounded by dust and grime.

Confirmation bias is not a personal failing. It is a cognitive mechanism that the system knows and uses. The first factory is not reassuring by chance; it is the face the industry presents precisely because it knows how the brain works. That image begins to falter in factory two.

Disaster that changed nothing

Rana Plaza. On April 24, 2013, a factory building in Savar, Bangladesh, collapsed. More than 1,100 people died. Cracks had been discovered the day before. Engineers advised evacuation. The workers were sent inside anyway, those who did not work lost their day’s wages. There were outraged statements, sustainability reports and compensation funds. What happened after that? The industry simply continued to grow. Research from 2022 shows that French imports from Bangladesh only increased after the disaster.

Psychologist Paul Slovic called this the collapse of compassion in 2007: human empathy never scales with the number of victims. 1,100 deaths is a statistic. One face moves us. More paralyses us. That is not a moral failing. It is how the brain works. It is precisely this trait that made us forget Rana Plaza so quickly.

There is a place in northern Chile where more than 60,000 tonnes of Western clothing goes each year. Polyester, nylon, all fibres that remain in the soil for up to two hundred years. This mountain is invisible to the consumer who clicked ‘order’ four times today. Shein produces between 2,000 and 10,000 new garments per day, using an algorithm that monitors social media and determines what is made in real time. H&M launched its Conscious Collection in 2019. In 2022, the Changing Markets Foundation concluded that more than 60 percent of H&M’s sustainability claims were unfounded or demonstrably false. The Conscious Collection still exists.

Here, the class issue plays its underestimated role. People with higher incomes generate an average of 76 percent more clothing waste than people with lower incomes, according to research from Boston University in 2022. Yet, the question of blame in the sustainability debate is systematically placed on those who can change the least. The woman who buys from Primark has no choice. The woman who buys from a sustainable brand does have a choice, and she buys more.

The philosopher Charles Mills described this in 1997 as structured ignorance: not the lack of information, but the production of ‘not-knowing’ as an institutional system. In the fashion industry, this invisibility is architectural. Production is geographically distant. The supply chain is opaque by design, not by clumsiness. Greenwashing simulates transparency while the structural invisibility remains intact.

That system has an ally in our minds. John Jost, a professor at New York University, described in his system justification theory in 2004 how people tend to defend the system they live in, not despite its disadvantages, but partly because of them. Justifying the system provides cognitive peace. Questioning it costs energy, evokes guilt and requires you to face your own position within it. The brain, where it can, chooses peace.

Resistance begins with the refusal to not know when you can know. The refusal to confuse moral hesitation with sensitivity. The refusal to accept structured ignorance as an excuse.

Ignorance is bliss, said Thomas Gray in 1742. He was right. It is wonderful, until it is not.

Boss and French design icon Ligne Roset unveil a new chapter in contemporary, luxury living with the reimagining of the iconic Togo chair – a collaboration that unites two tones, two textures, and two brands. The Boss | Ligne Roset Tailored Togo fireside chair and footstool mark a historic first as the only Togo edition ever to feature a distinctive material mix of robust, high-quality leather, a soft, refined textile seating surface and contrast stitching inspired by the world of Boss tailoring. Crafted for a truly immersive experience, this jointly-designed seating icon pairs deep, cocoon-like comfort with a sleek, architectural silhouette inviting the user to relax at the intersection of premium fashion and interior styling.

The Boss | Ligne Roset Togo unites two celebrated brands with a shared commitment to precision, innovation, and refined materials. Conceived as a true objet d’art, it reimagines an iconic furniture design as a sophisticated seating experience where craftsmanship meets architectural comfort. The result is a seating set that feels like suiting for the interior: sharp in its lines yet soft to the touch, understated yet unmistakably luxurious – perfectly suited to contemporary spaces where experiences are both lived and shared. With the new Togo fireside chair, Boss tailoring codes are translated into a furniture piece designed for connection, conversation, and élégance contemporaine – bringing fashion into the lounge.

“At Boss, we are incredibly excited to partner with Ligne Roset on this unique chapter in contemporary living. With the new Togo, we’ve translated our DNA into an iconic design object that brings the feeling of a made to measure suit in our home – a seating experience where comfort, craftsmanship, and contemporary sophistication meet.” said Marco Falcioni, Creative Director at Hugo Boss. “At Ligne Roset, we have always fostered a dialogue between iconic design and innovation. This collaboration with Boss reinterprets the Togo through a new lens – where craftsmanship meets the precision of tailoring to create a piece that is both expressive, comfortable, and distinctly contemporary.” said Antoine Roset, CEO of Ligne Roset.

The Boss | Ligne Roset Togo

The Togo popularized modular living and challenged traditional framed upholstery with a radically casual, 100% foam-based construction. With no hard edges and up to five different types of foam integrated into a single fireside chair, the piece pioneered a new approach to comfort and form that still feels audaciously modern today.

Behind the apparent ease of the Togo’s “folded toothpaste tube” profile lies an exclusive discipline of craftsmanship mastered by only 15 artisan upholsterers. Its legendary crinkled folds are not an industrial imprint, but a handcrafted signature of manually-installed pleating. This means every Boss | Ligne Roset Togo is both coherent as an ensemble and unique as a piece of art, whose precision has been passed down from generation to generation.

Accompanying Boss accessories

Thoughtfully curated Boss accessories complement the craftsmanship of the Boss | Ligne Roset Togo. Duotone jacquard cushion covers and a throw finished with saddle-stitching echo the chair’s refined material play. Additionally, pieces from the Spring/Summer 26 collection like the Madison bag and Gary trainers were specially selected to reflect the Togo’s leather-fabric material mix and to showcase Boss tailoring expertise. Gary trainers in light beige cotton–linen canvas with leather trims mirror the Togo’s tonal sophistication. A textured canvas holdall with leather accents, a detachable shoulder strap and key holder, and an embossed logo completes the ensemble, bringing a sense of elevation to on-the-move, lifestyle tailoring, and interior design.

Ligne Roset at Palais de Tokyo

During the international Ligne Roset at Palais de Tokyo event in Paris, from April 16-19, 2026, the Boss | Ligne Roset Togo will be presented through carefully crafted scenography – combining modern interior architecture with luxurious details. In this setting, the collaboration comes to life as a display of design exceptionalism highlighting the furniture piece as a place to rest, to converse, and to dream.

The Boss | Ligne Roset Togo at 5VIE Design Week

At 5VIE Design Week from April 20-26, BOSS and Ligne Roset will present an installation featuring the Boss | Ligne Roset Togo at the historic Cesare Correnti 14. Open to the public daily from 11 AM to 8 PM, the space centers the Tailored Togo chair and invites guests to sit, relax, and unwind in a setting where fashion, design, and comfort converge. Complete sensory immersion awaits as guests are invited to enjoy a bespoke playlist inspired by the collaboration. For select VIP guests, the installation extends into the evening with a private cocktail event accompanied by live DJ music on Tuesday, April 21, transforming the space into an intimate celebration of modern tailoring and elevated living.

Launching April 2026, the Boss | Ligne Roset Togo fireside chair and footstool will be available as a limited-edition design series in selected Ligne Roset stores, and showcased in Boss Stores in Paris and Milan.

Danish clothing and lifestyle brand Aiayu achieved a 22 percent increase in gross profit in 2025, according to a press release. Gross profit increased from 3.8 million euros (4.47 million dollars) in 2024 to 4.64 million euros in 2025. Net profit after tax rose in the same period from 740,000 euros to 970,000 euros.

Equity grew from 3.7 million euros to 4.2 million euros and cash and cash equivalents increased from 1.4 million euros to 2.38 million euros. The average number of employees increased from 31 to 36. Revenue figures were not shared.

The company, founded by Maria Høgh Heilmann, focuses on clothing and lifestyle products based on natural materials and works with two collections per year. In 2025, Aiayu invested in wholesale relationships, digital performance and the further development of its own e-commerce platform, according to the press release.

Aiayu was founded in 2005 and is based in Copenhagen. The brand has three stores in Copenhagen and one in Aarhus and is sold internationally through selected retail partners.

British fashion designer Victoria Beckham has announced a multi-season partnership with Gap to reimagine the American retailer’s classic styles, with the debut collection launching on April 24.

Beckham, known for her ready-to-wear minimalist luxury brand and beauty line, is teaming up with the casual American brand on a collection “built on the foundations of a modern wardrobe,” including “refines staple pieces with balanced proportions, sharp structure and thoughtful details”.

Commenting on the collaboration and what to expect, Beckham said in a statement: “To me, Gap is an all-American icon, a brand that has always created timeless pieces for everybody’s wardrobe, with a sharp attention to detail.

“Bringing my design perspective to those everyday essentials and working with a team that shares that same commitment to craftsmanship and execution has made this collaboration incredibly special.”

Gap x Victoria Beckham collaboration to be rooted in “timeless design”

The 38-piece Gap x Victoria Beckham collection is anchored in both brands’ concept on “refined wardrobe building blocks,” and features denim, khaki, T-shirts, button-ups, and fleeces, which are “grounded in simplicity, versatility, and precision”.

These will sit alongside utilitarian-inspired pieces in khaki and green, including skirts, jackets, and trousers, as well as “an iconic heavyweight fleece logo set”.

For the denim, fans can expect the Arc Jean, alongside classic straight and capri silhouettes, which the retailer adds have been designed to pair with matching denim jackets and shirting.

Additional highlights include a crisp white button-up, structured outerwear, including a trench and bomber, and a classic crew neck cotton T-shirt.

Key details include Victoria Beckham’s VB signature in red stitching, appearing “as a subtle design detail”.

The Gap x Victoria Beckham collection launches on April 24, from 9am on Gap.co.uk and in two Gap London stores at Westfield White City and Covent Garden, with retail pricing from 25 to 250 pounds / 34 to 328 US dollars and in adult sizing XXS to XXL.

The collection will be available across several of Gap’s markets, including North America, Japan, China and the Middle East.

Gap continues to drive growth through collaborations

Mark Breitbard, president and chief executive of Gap, added: “Every collaboration we pursue is rooted in storytelling. We wanted to work with Victoria Beckham, given her iconic influence in the fashion world and the opportunity to reinterpret our iconic pieces through her unique design lens.

“This partnership feels truly authentic - and that’s where the magic happens. It has allowed us to create pieces we hope our customers feel they have to have.”

Victoria Beckham is the latest designer and brand to collaborate with Gap as part of the American retailer’s ongoing transformation. In recent years, the retailer has collaborated with Los Angeles-founded golf lifestyle brand Malbon Golf, Los Angeles-based Cult Gaia, London-based skate label Palace, Californian clothing label Dôen, New York City-based LoveShackFancy, New York-based designer Sandy Liang, and beauty brand Summer Fridays.

Beckham has previously launched a 70s-inspired capsule collection with Spanish high street retailer Mango in 2024, featuring sharp tailoring, fluid dresses, and knitwear, an activewear line with Reebok, which merged performance-led sportswear with fashion from 2018 to 2022, as well as an accessible line with American retailer Target back in 2017.

The EIDM Fashion & Luxury Business School has announced a new collaboration with Monte-Carlo Fashion Week, reinforcing its commitment to connecting students with real-world industry experiences.

The partnership aligns with the broader mission of the Monaco-based fashion event, which runs from April 14–18, 2026 and brings together designers, brands and emerging talent through runway shows, conferences and sustainability-focused initiatives. The event is widely positioned as a platform for innovation and collaboration within the global fashion ecosystem.

Through the collaboration, students from EIDM Fashion & Luxury Business School are expected to gain hands-on exposure to professional fashion week operations, from creative direction to communication and event coordination. This type of experiential learning reflects the school’s emphasis on linking academic training with industry immersion and international visibility.

Monte-Carlo Fashion Week itself has grown into a key fixture on the European fashion calendar, blending established designers with emerging voices and focusing heavily on sustainability, innovation and responsible fashion practices.

Overall, the collaboration highlights the increasing importance of partnerships between fashion schools and global industry events, giving students direct access to professional networks while supporting the next generation of fashion talent.

Nike and the Dropcity architecture centre are launching the “Air Lab” in Milan, a new innovation and experimentation hub for the creative scene.

As part of Milan Design Week, the sportswear giant is currently offering a first look at the project. Nike announced on Sunday that it will be open to the public from autumn as a permanent part of Dropcity. The lab provides designers with access to state-of-the-art technology, including robotic arms and thermoforming machines, to explore the use of “air” as a design element in product development. The opening is accompanied by an exhibition showcasing approximately 100 previously unreleased prototypes and material samples, making the evolution of Nike Air technology tangible.

“Nike has always had an experimental, hands-on culture of making,” explained Golnaz Armin, vice president design studio excellence. “At Nike, prototyping is a daily practice – an instinctive drive to develop, test and refine things in real time.” Andrea Caputo, founder of Dropcity, added that the initiative establishes a new model of collaboration between companies and research institutions: “The lab shows that design and production can leave a tangible legacy for the city of Milan.”

The “Air Lab” is on display as part of Milan Design Week from April 20 to 26 at Via Sammartini 72 in Milan.

This article was written with the help of artificial intelligence.

Following the strategic plan announced by Kering in Florence on April 16, unions are expressing concern about the future of jobs and have requested a meeting with CEO, Luca de Meo.

In a statement today, the national secretariats of Filctem Cgil, Femca Cisl and Uiltec Uil acknowledged the important statements made to shareholders. However, they expressed concerns about the potential employment impact of the proposed plans. These concerns relate to both the group's internal operations and its associated supply chains, particularly given the existing difficult situation at Alexander McQueen. Last March, Alexander McQueen initiated redundancy proceedings for 54 employees in Italy.

Furthermore, the unions stated they hope to "meet again soon with the chief executive officer of the Kering Group, Luca de Meo, in the hope of gaining clarity on the industrial plans that will affect all the group's brands and, consequently, all connected districts and production chains in the coming months".

FashionUnited has contacted Kering for a comment on today's statement from the unions.

UK fashion retail proved more resilient than the broader high street in the latest week, with total like-for-like (LFL) sales slipping just -0.80%, according to the latest BDO High Street Sales Tracker. The result comes off a demanding base of +13.76% for the same week last year, and covers a period that included the Easter Monday break and half-term holidays.

The fashion category fared considerably better than the wider market, where total LFL sales fell -4.43% — the fourth consecutive weekly decline across lifestyle, fashion, and homewares. Total store LFLs dropped -4.03%, while total non-store LFLs grew +2.53%, both measured against stronger year-ago comparisons.

Fashion's online-offline split showed a clear divergence. Store fashion sales declined -2.60%, from a positive base of +3.86% last year. Non-store fashion sales edged up +1.03%, although the comparable base of +22.65% for the same week last year underlines how demanding the year-on-year comparison remains. Springboard footfall data points to a shift in where UK consumers are shopping rather than a broad retreat from physical retail. Overall footfall declined -0.8%, with retail parks up +1.8% and shopping centres up +1.5%, offsetting a -3.1% drop in high street footfall.

Weather conditions moved from unsettled post-storm skies into a warm, spring-like spell during the week, with temperatures climbing above seasonal norms in certain areas before turning more changeable toward the weekend. For fashion retailers, the transition into milder weather may have supported demand for spring collections, although the exceptionally strong year-ago comparisons — particularly the +22.65% base for online fashion — continue to weigh on headline growth figures despite the category's relative outperformance.

British retail trailblazer Joan Burstein, co-founder of iconic London boutique Browns, who championed emerging talent throughout her career, has died at the age of 100, according to her family.

Burstein, who was awarded the Commander of the Order of the British Empire (CBE) in the 2006 Queen's Birthday Honours list for her services to the British fashion industry, was known as a “fairy godmother” to many designers, as she famously discovered and nurtured some of the biggest names in fashion.

Known affectionately as “Mrs B,” she co-founded the Browns boutique on South Molton Street, London, in 1970 with her late husband Sidney, which she transformed into one of the most recognisable independent retailers in fashion. She was instrumental in launching many designers’ careers, and was one of the first to stock designers, such as John Galliano, buying his entire graduate collection in 1984, as well as Alexander McQueen and Christopher Kane.

Burstein was also credited for introducing many international brands to the UK, including Giorgio Armani, Donna Karan, Ralph Lauren, Calvin Klein, and Comme des Garçons.

She retired from the business in 2015, when Farfetch acquired the retailer from the family.

In a statement, her family said Burstein died peacefully at her home in Ibiza, surrounded by her family.

Her children, Simon Burstein and Caroline Hammond, said: “We are deeply saddened to share that our wonderful mother, Joan Burstein CBE, passed away peacefully on Friday, April 17, 2026. Earlier this year, she celebrated her 100th birthday in joyful style, dancing to a swing band and surrounded by those who loved her, which was entirely fitting for a life so vibrantly lived.

“She leaves behind an enormous legacy and will be profoundly missed by her two children, seven grandchildren, seven great-grandchildren, and the many people whose lives she touched.”

Tributes paid to retail pioneer “Mrs B”

Since her death, many tributes have poured in from the fashion industry, including Browns Fashion and the British Fashion Council.

On Instagram, Browns Fashion said: “We are deeply saddened to hear of the passing of the legendary Joan Burstein CBE, the incomparable Mrs B.

“As the visionary founder of Browns, Mrs B was a mentor and a pioneer, leaving behind a legacy that will continue to inspire us and generations to come.”

The British Fashion Council added on social media: “We are deeply saddened to hear of the passing of Joan Burstein, known to many as Mrs B. A pioneering force in British fashion retail, she played a defining role in shaping the industry as we know it today, championing emerging designers with conviction, insight and an unwavering commitment to creativity.

“Through her work, she helped establish London as a global centre for innovation and talent, supporting generations of designers at the earliest stages of their careers. Her legacy will be felt for years to come, not only in what she built, but in the confidence and visibility she gave to so many.”

Spanish brand Cold Culture, founded in Madrid in 2021 by Andrés Varela and Martina Merry, will open its first permanent store in Italy on April 24.

The store will be located at 75 Corso di Porta Ticinese in Milan, a few metres from its previous pop-up, and will cover an area of 113 square metres. This opening is part of the company's international expansion strategy, which positions physical retail as a key pillar for strengthening brand awareness and conversion.

Retail as a lever for growth and international expansion

The Milan opening is part of the company's physical growth plan, which combines permanent stores with temporary formats under a strategy they internally call the “Cold Tour”. This model involves staggered openings in various European cities as brand activations amplified through social media.

Following its first test in Milan in October with a now-closed pop-up, the company is now consolidating its presence in the city. It is also exploring new openings in Italy, including potential temporary formats in Rome during 2026.

In parallel, the brand has strengthened its retail presence with seven new stores in the last year. These openings were in markets such as Madrid, where it relocated its flagship to 41 Fuencarral, Barcelona, Valencia, Amsterdam and London. The brand also held activations in Paris and Berlin.

Organisationally, the company has strengthened its structure with the appointment of Elena Alarcón as head of e-commerce, a move aimed at consolidating its digital channel alongside its physical retail growth. In terms of transparency, however, the brand received a “fail” from Bcome.

Heritage sportswear brand Slazenger, known for its tennis and golf apparel and equipment, has launched a new, premium label, Off-Court, designed to reinvent the brand through “a bold, contemporary, Gen Z lens”.

Slazenger, part of the Frasers Group, states that the new Off-Court brand will represent its most premium offering to date, as it looks to bring the brand to the forefront “for a more trend-driven audience,” whilst paying homage to its sporting DNA.

Designed by 23-year-old creative brand consultant and TikToker, Alexei Hamblin, Off-Court debuts with a nine-piece lifestyle collection, offering apparel designed “for life beyond the court,” blending premium fabrics with a contemporary aesthetic for a new generation of Slazenger fans.

Commenting on the new launch, Hamblin said in a statement: “I’ve known Slazenger my whole life, probably for the wrong reasons, which always left me wondering what more it could be if it reached its full potential. As I learned more and more about its legacy, I became obsessed, and when Slazenger brought me in, I couldn’t believe I had this opportunity to bring my vision to life.

“A brand with genuine heritage and credibility deserves a place in today’s fashion conversation. This capsule collection will be a key step in recontextualising that heritage for a generation who didn’t grow up with the brand. It will also serve as something of a test collection, as I’ll take real-time feedback from my socials about the capsule to tweak and adapt for collection two. I want to make this the most customer-centric rebrand of all time.”

Frasers Group's Slazenger brand launches premium fashion label

The debut collection of Slazenger Off-Court will be available exclusively at Flannels.com, another Fraser Group brand, and Slazenger.com. It will feature a mix of menswear and unisex products, including T-shirts, polo shirts, crewnecks, jackets and trousers, crafted from 100 percent cotton knitwear and sport-inspired yarn blends. Prices will range from 40 to 90 pounds.

The brand will be expanding into womenswear for the second collection, launching this summer.

Michael Murray, chief executive officer at Frasers Group, Slazenger’s parent company, added: “A bold step forward for Slazenger. Partnering with young creative talent, Alexei, to reimagine this iconic heritage brand - taking it outside the box and off the court. This is just the start of an exciting journey ahead.”

A new global competition titled Design Forward 2026 has launched, offering fashion students and recent graduates the opportunity to develop digital design skills using AI-powered tools.

Organised in collaboration with The Fabricant, the initiative provides participants with free access to digital design software and a project brief, with no portfolio required for entry. The competition aims to support emerging creatives as the fashion industry increasingly integrates digital workflows into design, production and presentation.

Entries will be evaluated by a jury of industry professionals, including Brigitte Stepputtis, Alex Høgh Nielsen, Katrin Ley, Nicolas Griffioen, Gloria Maria Cappelletti, Carsten Meijer and Kerry Murphy.

The competition is positioned as both a learning opportunity and a career-building platform, allowing participants to gain experience with digital design tools while presenting their ideas to industry decision-makers.

Application submissions are due by April 29, 2026. For fashion students and educators, the initiative highlights the growing emphasis on digital fluency and AI-driven workflows within fashion education and professional practice.

The American Apparel & Footwear Association has released a new guide aimed at helping fashion supply chains protect workers from extreme heat, as rising global temperatures increase health risks in manufacturing environments.

Published on April 17, 2026, the AAFA Guide to Protecting Workers from Heat Stress offers practical recommendations for apparel, footwear and travel goods companies to reduce risks and improve workplace safety. The guidance is designed to be implemented across global supply chains and addresses both prevention and response measures.

According to the International Labour Organization, excessive workplace heat is linked to an estimated 18,970 deaths and 22.87 million occupational injuries, highlighting the growing urgency of mitigation strategies.

Key recommendations outlined in the guide include:

The guidance was developed with input from stakeholders across the supply chain, including brands, manufacturers, academic experts and non-governmental organisations. It will be updated annually to reflect evolving research and best practices.

For fashion students and educators, the initiative highlights how climate change is influencing labour conditions and supply-chain management, reinforcing the importance of sustainability and worker welfare in future industry practices.

Paris (France) - Barrel-leg trousers, also known as "tonneau" in French or "clown" trousers, seemed unlikely to move from the catwalks to the high street with their unique, voluminous cut. However, they have recently taken over everyday fashion for both men and women.

"Ready-to-wear has made it a staple that has replaced all the flared jeans of the moment," Bryan Ferreira, a style journalist for GQ magazine, explained to AFP.

Each decade has had its signature jean: the 1970s had bell-bottoms; the 1980s had 'mom jeans' (high-waisted, relaxed fit); the 1990s had baggy jeans (wide all over); and the 2010s had skinny, stretch jeans. Since 2020, trouser cuts have become more relaxed. The decade is now clearly defined by volume and fullness.

"It is a key silhouette for fabric developers, who are well aware of this trend towards comfort and volume," explains Julieta Mercerat, a denim consultant.

"For two seasons now, we have sensed that people want to move away from the minimalism that has neutralised fashion for several years. This minimalism erased traces of personal or cultural expression and standardised the search for style," she analyses for AFP.

First appearing in the Alaïa autumn/winter 2023-2024 show, this new balloon cut then exploded on social media thanks to Jacquemus, a designer beloved by Gen Z (the generation born between 1995 and 2010).

Best-seller

The balloon jean is a regular or high-waisted style. Instead of falling straight, it curves out to its fullest point at the thigh and knee before tapering towards the ankle, as if the leg forms a parenthesis. Its ancestor or distant cousin is the 'Oxford bag', the oversized baggy trousers of the 1920s, or the sarouel.

Viewed from the side, the leg does not fall in a straight line but curves slightly, like the side of a barrel, hence its name. "It immediately creates a graphic silhouette, turning the garment into a style statement," stylist Coppelia Mandin tells AFP. Mandin is from the creative agency Good Sisters, which specialises in dressing French actresses.

The barrel-leg trouser first thrived on Instagram before appearing in ready-to-wear shop windows. "It is a divisive style, however. When it was first posted on Instagram, people had very strong opinions. That is when we knew we had created a best-seller!" summarises Marianne McDonald, creative director for the Californian denim label Citizens Of Humanity, in Vogue.

Denim sustainability expert Julieta Mercerat also notes that the barrel-leg style contains no elastane, a highly polluting component, unlike straight or skinny cuts. This makes it more environmentally interesting.

Diabolical

For French stylist Coppelia Mandin, although it is not for everyone, the barrel-leg trouser “deconstructs the body and also allows you to hide your legs a bit”. On top, you should not try to compete with the volume. "You need something quite simple and close-fitting, a simple white T-shirt, for example," advises the expert. "Since it tapers at the bottom, you can opt for something delicate on your feet, like ballet flats or pumps." Libération's fashion columnist Sabrina Champenois sees a “not far from diabolical” trend in these trousers.

"To be in line with the current doxa, one must respect an opposition of proportions, being as slim as the garment is voluminous," she writes. This confirms that it is a fashion reserved for bodies that meet current standards.

For men, the barrel-leg trouser has found an unexpected place. It has won over stars on the red carpet, even replacing the timeless suit trouser.

"While the wide cut is not for everyone, for the man who has tired of the straight cut or is not yet ready for the ultra-wide style, a barrel-leg trouser offers a particularly elegant compromise," notes GQ magazine.

British lifestyle brand Mulberry has delivered a strong sales performance for the second half of the 2026 financial year, supported by a turnaround strategy focused on brand reignition and full price discipline.

The group reported constant currency sales growth of 13.6 percent during the second half (H2) of the 52 weeks ended March 28, 2026. This momentum resulted in total revenue growth for the full year (FY26) of 5.7 percent on a constant currency basis. The performance indicates that the ‘Back to Mulberry Spirit’ strategy is gaining traction across all global regions. Every end market reported positive like-for-like (LFL) sales growth in H2, with the EU (excluding the UK) leading the expansion at 37.8 percent.

Strategic shift drives regional growth

The group’s retail and digital channels saw widespread recovery following a more difficult first half (H1) of the year. In the UK, retail and digital sales rose 13.7 percent in H2, while the US and Asia Pacific regions grew by 20.1 percent and 20.8 percent respectively.

Mulberry chief executive officer, Andrea Baldo, noted that the results demonstrate the turnaround is firmly underway despite a challenging economic and geopolitical environment. The group has remained focused on re-engaging its existing customer base while attracting new shoppers through a more focused product offer and improved availability. This growth was achieved alongside a disciplined focus on full price sales and a reduction in discounting.

These measures supported an improved gross margin for the 2026 financial year, continuing the progress seen in the H1 report where gross margin reached 69 percent.

Creative leadership and ready-to-wear relaunch

A significant pillar of the brand refresh is the appointment of British designer Christopher Kane as ready-to-wear (RTW) creative director. Kane, who previously closed his eponymous brand in 2023, will lead the return to a category Mulberry has not occupied since ending its licensing agreement with Onward Luxury Group in 2020.

The first collection under Kane’s direction is set to be unveiled in September 2026, with items becoming available in stores and online from January 2027. Baldo stated that Kane’s arrival marks an important step in re-establishing creative leadership as the brand evolves its creative language beyond accessories. Industry engagement regarding the relaunch has been high, with partners ranging from Selfridges in the UK to The Webster in the US.

Recent product initiatives, such as the ‘Rooted in Craft’ campaign and the limited edition Bayswater launch, which sold out in minutes, have already begun to elevate brand awareness. While the group remains focused on the work ahead, Baldo expressed confidence in the ability to build a sustainable, profitable business for the long term.

If your fashion brand has established a strong presence in its home market, expanding internationally through e-commerce marketplaces can unlock significant growth opportunities. Platforms like Macy’s, Saks Fifth Avenue, ASOS and Zalando can connect your products with new customers, increasing brand visibility across global markets.

However, many assume that marketplace access is limited to large, well-established companies. This is no longer the case. Whether you’re a fast-growing startup or a mid-sized fashion brand, e-commerce marketplaces have never been more accessible for brands of all sizes. Read on to learn how these platforms can drive your global expansion.

What is an e-commerce marketplace?

An e-commerce marketplace is an online platform that sells products from multiple brands, giving shoppers a convenient one-stop shop instead of visiting separate websites for each of their favourite brands. In the fashion industry, these platforms act as ‘digital department stores’, offering a wide selection of apparel, accessories and other goods.

“As well as being convenient for online shoppers, marketplaces give brands a platform to showcase their products to a wider audience,” says Maxim Sion, Global Sales and Business Development Manager at Bleckmann. “Once dominated by large fashion companies, there are now scalable solutions that unlock these platforms for a much wider range of brands. This can provide a powerful lever to drive international growth.”

A key tool for building trust with international shoppers

One of the main benefits of selling through e-commerce marketplaces is that your brand gains credibility in regions where it may still be relatively unknown. Most marketplaces vet brands and their products carefully before allowing them to be featured, ensuring that only reputable, high-quality brands are showcased.

“For consumers unfamiliar with your brand, seeing your products featured on a marketplace signals reliability and quality,” explains Maxim. “In this way, marketplaces can not only extend your reach but also enhance your brand’s reputation in new markets, helping convert shoppers who are new to your brand into loyal customers.”

Faster entry into new international fashion markets

One major benefit of joining e-commerce marketplaces is their ability to streamline international expansion without the need to set up physical entities in new regions. For instance, if a European brand wanted to sell in the US, it would typically need to establish a legal entity and rent warehouse space – alongside handling customs, shipping and other costs. However, selling through marketplaces with the support of a third-party logistics (3PL) provider means that you can leave all the heavy lifting to the professionals.

“As well as being a significant investment, setting up operations in a new country is time-consuming,” continues Maxim. “However, the right fashion logistics provider can make international expansion smoother, faster, and more cost-effective by offering bulk shipping rates and streamlining customs management, for example. This accessibility is allowing many more brands to expand globally and reach much broader audiences without the high costs and long timelines typically associated with international growth.”

Success story: Swift expansion with e-commerce marketplaces

A great example of quick marketplace integration is Bright Swimwear, a European fashion brand that used e-commerce platforms to enter the US market. Onboarding with just one premium marketplace is typically a lengthy process, with IT integration alone often taking up to six months. However, thanks to Bleckmann’s partnership with cross-border B2B specialist Global Bridge, Bright Swimwear launched on five major US e-commerce marketplaces – including Nordstrom and Bloomingdale’s – in just four months.

How can e-commerce marketplaces improve brand awareness?

E-commerce marketplaces often attract millions of visitors per day, offering your brand increased exposure without the hefty cost of traditional advertising campaigns. As soon as your products are listed, they can be seen by a wider audience. Even if you don’t convert every visitor into a paying customer, the enhanced visibility helps to build brand recognition in new markets, boosting brand awareness. This increased familiarity with your brand is a crucial step in driving international growth – so it shouldn’t be overlooked.

Scaling your brand with Bleckmann and Global Bridge

As we’ve seen, e-commerce marketplaces are a powerful driver of international growth for brands. However, smaller apparel brands have traditionally struggled to access these platforms due to high costs and logistical barriers. Thanks to Bleckmann’s partnership with Global Bridge, more small- and medium-sized fashion labels can now unlock the potential of regional and international fashion e-commerce marketplaces.

This unique collaboration provides a streamlined, plug-and-play solution that simplifies marketplace integration for brands. By removing common barriers such as legal complexities, IT integration and other logistical challenges, international expansion becomes much more attainable. As a result, entering new markets is no longer an unachievable task, but an affordable, accessible and realistic growth opportunity.

Want to find out more about how e-commerce marketplaces could fuel your brand’s international expansion? Read more about Bleckmann’s partnership with Global Bridge here, or get in contact today for a free consultation with one of our logistics experts!

New Zealand-born heritage lifestyle brand Rodd & Gunn continues to expand its presence in the UK with the opening of a new store at Bristol's Cribbs Mall.

The 2,563 square foot standalone store in the Bristol shopping centre follows the success of the menswear brand’s concession within John Lewis at Cribbs Mall.

The Bristol store adds to its 10 standalone stores across the UK, including in London, Edinburgh, Glasgow, Winchester, and Bath.

Katie Searle, director of asset management at Sovereign Centros by CBRE, which provides management services across Cribbs on behalf of M&G Real Estate, said: “Rodd & Gunn’s decision to open a standalone store at Cribbs is a prime example of how we work with exciting new brands entering the UK fashion market.

“From a concession at John Lewis, Rodd & Gunn has become a popular brand amongst our younger shopper audience, so we are delighted to have found them a new space in which they can grow and thrive.”

The addition of Rodd & Gunn follows Cribbs’ strategy of introducing new brands to the shopping centre line-up whilst working with established existing brands to enhance their spaces to appeal to its growing younger audience. The shopping centre states that fashion retailers have also benefited from a 26 percent rise in domestic tourists over the past year, as well as a 13 percent growth in Gen Z shoppers.

Searle added: “Rodd & Gunn’s arrival highlights how Cribbs Mall acts as the perfect destination for fashion brands to create flagship stores. Our large catchment area and strong domestic tourism audience allows us to draw in visitors from far and wide, eager to explore new fashion offerings and concepts.

“This has been evidenced by Rodd & Gunn selecting Cribbs for one of its first shopping centre locations, as well as Animal opening its first shopping centre store at Cribbs last year. Meanwhile, established brands like Mango, H&M, and River Island have all invested in their spaces, strengthening Cribbs’ position as the South West’s go-to fashion destination.”

Debenhams Group, the British online retail group, has appointed Paul Aspden as chief technology officer to scale its marketplace technology and AI innovation to support its next phase of growth.

Aspden, who joined the Debenhams Group in 2023, was most recently director of technology and has been “instrumental in developing and scaling the group’s proprietary technology ecosystem,” which underpins the group’s marketplace model that has been central to the turnaround of the business.

He has more than a decade of experience leading technology and digital transformation across the retail sector and will be focused on scaling Debenhams Group’s technology platform and driving further innovation, including the expanded use of AI to enhance decision-making, operational efficiency, and customer experience, in his new role.

Dan Finley, chief executive of Debenhams Group, said in a statement: “Having worked closely with Paul for the last 12 years, what's always stood out to me is the way he combines strong, technological expertise and leadership with real commercial impact. He has been instrumental in advancing the technology that underpins our marketplace model, while introducing AI-driven innovations that have supercharged both the customer experience and our operational efficiency.

“Technology has fundamentally transformed how we run the business, from stock and pricing management to how customers shop with us every day. The focus now is on scaling these capabilities further, and Paul’s leadership will be central to making that happen.”

Aspden’s appointment comes as Debenhams Group strengthens its senior leadership team, following Nikki Tattersall's joining as chief product officerto lead product strategy across the group’s youth brands.

Commenting on his new role, Aspden added: “I’m incredibly proud to step into the role of CTO. Since I joined the business, the Group has undergone a significant transformation, cementing its position as a leading online retailer while pioneering some of the most exciting innovations in the industry.

“There is a significant opportunity to go further - from scaling our platform and marketplace model, to embedding AI more deeply across the business and further enhancing how customers discover, explore and shop with us. I’m looking forward to working with the team to make the Group an even more dynamic place to shop and do business with.”

Debenhams Group is an online platform for fashion, home, and beauty, serving millions of customers across five shopping destinations: Debenhams, Karen Millen, Boohoo, Man and PLT.

Swiss sportswear provider On Holding AG has further strengthened its presence in the US. On Wednesday, the trainer specialist opened a new store in the East Coast metropolis of Boston. According to the company, On now has 15 stores in the US and a total of 70 worldwide.

In Boston, the company has taken up premises on the popular shopping street, Newbury Street. It now offers a selection of shoes, clothing and accessories for running, tennis, training, outdoor and lifestyle across a space of around 260 square metres.

The opening took place just a few days before this year's renowned Boston Marathon. Dan Schade, general manager for the Americas region at On, explained the choice of location. “Boston has a deep-rooted passion for running and a strong awareness of performance – qualities that are central to our brand ethos,” he explained in a statement. “Opening on Newbury Street during this legendary week is an incredibly significant milestone for us.”

Belgian lingerie group Van de Velde has appointed Marc Dambremez as chief executive officer. According to a press release, he will take up the position on August 31, 2026. He succeeds Karel Verlinde, who is leaving the organisation after seven years.

Dambremez has been tasked with accelerating the company's next phase of growth. With over 15 years of international experience in the fashion industry, he brings expertise in brand-driven growth, international retail and consumer engagement. He is expected to drive further growth while preserving the heritage of craftsmanship and quality.

Chairman Yvan Jansen commented on the appointment. “Marc brings strong fashion expertise and a distinct consumer-centric mindset to strengthen and scale our brands at a time when global brand relevance and speed to the consumer are crucial.” According to Jansen, Dambremez will lead Van de Velde towards “sustainable growth and long-term value creation”.

Dambremez called the move “particularly attractive”: “The strength of the brands and the opportunities that lie ahead are particularly attractive, and I look forward to building a high-performance culture where the consumer is at the heart of the strategy. My focus will be on accelerating the momentum in our core markets.”

From Levi Strauss & Co. to Van de Velde

After more than 16 years, Dambremez moves from Levi Strauss & Co.. There, he held various international leadership positions, including managing director for Asia Pacific and managing director for retail outlets EMEA. He was also vice president of global retail, real estate and franchise.

Van de Velde's portfolio includes brands such as PrimaDonna, Marie Jo and Sarda. The company partners with thousands of retailers worldwide.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereafter, YKK) announces that the global sales share of its Natulon® zipper series—zippers that incorporate recycled materials—has exceeded 50%.

YKK began the full-scale global switchover to Natulon® products in FY2021, and with the support of customers worldwide, the switchover ratio reached 56% by the end of FY2025.

For many years, YKK has implemented manufacturing practices that make effective use of limited resources, and as part of those efforts, the company began working on Natulon® in earnest in 1994. The Natulon® zipper series uses recycled materials without compromising quality or functionality, transforming YKK’s long-standing resource-efficiency initiatives into tangible products. These efforts directly reflect the “Material Resources” goals outlined in the YKK Sustainability Vision 2050.

As reducing environmental impact across the apparel supply chain becomes an industry-wide challenge, Natulon® zippers use recycled materials derived from waste, helping reduce reliance on new fossil　resources. In addition, compared with a standard YKK coil zipper, the #3 20 cm Natulon® closed-end coil zipper has been shown to emit approximately 19.6% less greenhouse gas (GHG) during production, based on lifecycle assessment (LCA) results.

In FY2019, prior to the switchover, Natulon® sales accounted for just 3% of the total volume. However, in FY2020, YKK set company-wide targets under its Sustainability Vision 2050 and began accelerating a global transition to more sustainable textile materials. By maintaining both a stable global supply chain and consistent product quality throughout this transition, YKK has been able to expand the switchover worldwide—beyond simple material substitution.

Guided by the YKK Philosophy of the Cycle of Goodness® , which emphasizes thinking proactively about what is best for society and future generations and creating new value, YKK continues to pursue a better future through monozukuri. Surpassing a 50% global sales share for the Natulon® zipper series represents a meaningful milestone in this ongoing journey. YKK remains committed to advancing a sustainable society through the continued development and supply of sustainable fastening products.

Because YKK employees all over the world came together as one with high aspirations and worked to drive the switchover forward, this significant achievement was made possible. Going forward, we will aim to create a circular society for apparel by further increasing the share of Natulon® series zippers in global sales, as well as developing zippers that can be easily recycled along with the garments themselves. As a true sustainable partner that goes beyond being a manufacturer of parts, we will continue working alongside our customers to help build a circular economy. - Comment from Yasuhiro Sato, Vice President, Product Strategy Division, Global Sales Headquarters, YKK Corporation

Denim brand Kuyichi was founded in 2001 by Solidaridad, Triodos Bank, Stichting Stimulans and Oro Blanco, a collective of Peruvian cotton farmers that no longer exists. They had a clear goal: to make organic and fair-trade cotton the norm.

The brand grew to become a pioneer in sustainable denim but ran into trouble in 2015 due to high overhead costs, prematurely opened own stores and changing leadership. Bankruptcy followed, but so did a relaunch. Sales director Peter Schuitema took over the brand with partners Floortje Dessing and Guido Keff. Later, Laurent Safi (product manager) and Bjorn Baars (brand director) also acquired a stake in the company.

Ahead of the anniversary, FashionUnited visited Vleuten to speak with Bjorn Baars, to look back and forward. After 25 years, one is arguably no longer a pioneer. What is next for the quintessentially Dutch denim brand?

Humble restart

Small but perfectly formed aptly describes the Kuyichi team's office space: its location just outside Utrecht (The Netherlands), its modest size, and its homely decor. It is an upgrade, says Baars, pointing to the years after the relaunch when they had to work from Schuitema's attic. They reviewed the first denim prototypes in the back garden. “In the second year, we had a tiny office in Amsterdam where it was almost impossible to hold meetings due to its size and acoustics.” That was eight years ago now.

Baars takes us upstairs, where a leather sofa sits among mood boards, houseplants and archival designs on clothing rails. He is busy reflecting on what exactly has happened in twenty-five years; he has been there for almost all those years, first as a sales manager, then as a designer after the takeover, and now as brand director. "I am unearthing the most remarkable designs for our anniversary," he says, stroking a pair of trouser legs. "How they were made and what they stood for; what innovations we had to make for them. Much of what is hanging here is now too bold, as well as too time-consuming and expensive – that no longer works."

Organic cotton

The story of Kuyichi begins with the plans of Solidaridad, the foundation behind the Max Havelaar quality mark, to scale up organic cotton from Peru and pay the farmers a fair wage for it. "Solidaridad went to Lima in 1998 to see what was happening in the cotton industry. They saw the heavy pesticide use, how unhealthy it was for the farmers and the soil, and the amount of water being used. The land was literally dying from it; I saw shocking videos of it later.” The foundation wanted to support those cotton farmers to work pesticide-free, for a fair wage and without intermediaries. “It was not certified fair trade, but it was worked according to those principles."

However, no brand wanted to buy that organic cotton. "Organic cotton was not yet a trend and it was more expensive,” says Baars. Meanwhile, the better denim brands were being blown away by cheap fast fashion chains, which bought cotton from non-sustainable growers and had jeans made from it in low-wage countries with a lot of synthetic stretch. Solidaridad felt this did no justice to either the makers or the sector. Let's do it ourselves, they thought. Fortunately, the right people were brought on board, including Tony Tonnaer (later founder of Kings of Indigo), Peter Schuitema as sales director and designer Jason Denham.

The first collection consisted of T-shirts made from organic cotton; in 2004, the first organic cotton jeans followed. "Since then, we have continued to experiment to make it even more sustainable with spare denims, recycled cotton, and hemp cotton. It was pioneering, and sometimes it still is."

Premium middle ground

In 2007, a Pure Premium line was launched, a kind of laboratory for sustainable innovation, but it was eventually discontinued. "That was a line with expensive Japanese fabrics, selvedge denim, and trousers from 250 to 550 euros. We were at the (former Berlin, ed.) Bread & Butter trade fair with all those trousers against a jet-black background. Everyone was impressed by it, we were literally the talk of the town, but we could not sell them."

"We knew the looks could work, but they had to be more accessible. Now those design elements are in our regular collection.” This year, Kuyichi is bringing back the premium concept, “but much more limited, and with the lesson of the past in mind: this is not how we earn our living.”

Organic with a huge footprint

Producing overly designed trousers was one of the stumbling blocks for Kuyichi in 2015. "Several things went wrong," says Baars. "The overhead was far too high. We had thirty people in the office, a large marketing budget, and brochures; we knew no limits. We had shareholders who were not involved with the brand but appointed three different CEOs in two years, resulting in completely different collections. When we started opening expensive shops on top of that, things really went wrong."

Kuyichi had to learn to be more commercial. After the takeover, the brand focused on Never Out of Stock (NOOS) and smaller collections with exclusively certified organic cotton. The production chain was re-established in Turkey: cultivation, production, washing, trimmings, labels and packaging. Every step had to be certified. According to Baars, this has reduced the footprint enormously. Fortunately so, because something about the old production chain bothered him: “The cotton came from Peru, it had to go to Turkey for the certified factory, and the laundry was somewhere else again. At the end of the day, you had an organic pair of jeans with a gigantic footprint."

Cotton in conversion

One successful project that resulted from this course is supporting cotton in conversion, together with Bossa, Kuyichi's largest fabric supplier. "The idea was to guide a cotton farmer in Turkey through the transition to organic cotton. That takes three years, because the soil has to be really clean before you can call it organic. There are no subsidies for it in Turkey, so it is a scary step for farmers to take."

"Together with Bossa, we helped such a farmer: Cengiz Karadeli. He has now fully converted to organic and his successful harvest is in several styles from the collection. We would like to expand to another farmer."

Circular denim

Another successful innovation is 100 percent post-consumer recycled (PCR) denim. "In 2023, we finally succeeded, together with Bossa. We already had a version with 20 percent PCR denim. The technical problem was in the warp: it has to be strong and for that you need long fibres. Recycled denim almost always produces shorter fibres.

Bossa managed to adapt the spinning technique. The short fibres are twisted in such a way that the yarns can still be strong and heavy." The result: the Izabella Old Blue for women and Scott Old Fashion Blue for men, which is already sold out and is being replaced by a new model. There is also a baggy version for women, Lucy Loose Atlantic Ocean. “That is currently our best-selling model."

Sale

What did not work out: never participating in sales again. Much of Kuyichi's range consists of basics. "Why should such a product suddenly become less valuable after a season?" Baars thought. Retailers were also happy with the no-sale policy. “There is nothing more annoying than losing margin because a brand goes on sale on its own website two months after delivery. "You could always reorder our collection for a fair price.” There was just one problem: Kuyichi did not have its own outlet channel. What was not sold, piled up. That is why, after skipping sales for nine years, Kuyichi was forced to participate in them in 2026.

Baars thinks it is a shame. "In any case, we have managed to structure the collection so that we are reasonably clean at the end of the season: 70 percent is NOOS, and for seasonal items we only produce what has already been pre-sold and what will be in the webshop."

Trouser leg campaign

During the rebuilding period, there was hardly any budget for marketing. Now that the brand has been relaunched, that has to come back, says Baars – and he mentions a very direct campaign that was a huge hit at the time: ‘Legs for 10 euros’, conceived by an Amsterdam PR agency. "That was a recycling campaign where people could hand in their old jeans in exchange for a 10 euro deposit. We had a workshop in Amsterdam's Red Light District with people on sewing machines and with scissors. The idea: the legs of a pair of jeans are easier to recycle than the top, because that is where all the trimmings and metal parts are. You throw the legs in a shredder and you can make a new pair of trousers from them just like that."

The campaign generated a huge amount of press attention. "Precisely because it was so direct," Baars thinks, with some doubt as to whether it would still work that way today. "If you communicate something like that in a well-behaved way, no one picks up on it.”

Regenerative cotton

The way forward for Kuyichi, for Baars, begins with the term ‘regenerative’; meaning that for cotton cultivation, you do not deplete the soil and allow the ecosystem to recover. Then life can return to the soil and the land gains resilience for when the weather becomes more extreme. Currently, about 30 percent of Kuyichi's range consists of regenerative cotton - it is also certified, which is a prerequisite for Kuyichi's German customers.

"The direction I envision for Kuyichi is a mix of regenerative cotton and 100 percent PCR denim, with organic as a supplement where needed. We want to close the loop: collect, repair, upcycle. We are already working with Mended for our repair service, but eventually we want to take that in-house."

The dream of owning a little shop in Amsterdam is cautiously coming back to life. "Small and cozy, not a large flagship store like before, with the intention of telling our story and serving as a service point for the customer."

K25

If Baars has to point to one pair of trousers that shows where Kuyichi is headed, it is the K25. It is a reinterpretation of the very first pair of trousers Jason Denham designed for the brand: the K100. "At the time, those trousers were already very trendy, and now Y2K style is back in full force. Now is the perfect time to bring it back."

The trousers are made of unwashed, 100 percent regenerative cotton, and selvedge woven in the Japanese style. It is actually a fairly simple, solid model. That is what the market is looking for. "I have here the most sustainable pair of trousers I can think of,” says Baars.

Storytelling

Where is there still work to be done? “The storytelling”. But marketing is expensive, says Baars. "Our CSR manager once said: the big difference between fast fashion and slow fashion brands is that the former have huge margins and use them for marketing and storytelling. Sustainable brands put all their money into sustainable business and do not have much left over for storytelling at the end of the day. We are at very reasonably priced trousers and yet our margin is still not really high enough to get our story out there.”

"We work almost entirely with our own money and have hardly any loans. As a company, Kuyichi is finally healthy. Actually, our core jeans should also cost 150 euros. They are all premium products when you consider where they come from and how they are made. That is the whole truth of fair production."

Bleckmann, specialist in supply chain management for fashion and lifestyle brands, is expanding its UK footprint with the opening of a new mega distribution centre (DC) in Lutterworth. This new opening adds to its already extensive operational footprint in this highly sought-after market. The new mega- DC, located in the heart of the UK’s logistics ‘golden triangle’ in the Midlands region, is ideally situated to support clients in reducing lead times and improving service quality. The multi-client space, which measures 761,932 square feet (70,786 square metres), will be fully operational as of July 2026.

Supporting growth of ambitious fashion and lifestyle brands

The DC is one of the largest in Bleckmann’s UK portfolio, which includes additional sites in Lutterworth, alongside locations in Swindon, Bury St Edmunds, Burton-on-Trent, Crick and Corby. The company supports a wide range of clients in the UK, including fashion and lifestyle brands from all over the world.

In particular, the go-live marks a significant milestone for Bleckmann’s growing lifestyle logistics offering. Able to accommodate categories such as beauty, haircare, sports and accessories, alongside fashion apparel, the new warehouse will allow Bleckmann to provide even more specialist supply chain solutions tailored to the distinct operational needs of its fashion and lifestyle clients – ensuring flexibility and scalability while prioritising the customer experience. The expansion of its warehousing footprint will therefore allow it to build on its successful track record of partnerships with leading brands across these industries.

Cutting customs complexity and streamlining growth

Both UK-based clients and brands from across the EU and beyond are well-represented across its UK network, attracted by the strategic flexibility it offers. One example is the added complexity of cross- border returns for EU-based brands, which can be eliminated by splitting stock between the UK and a European logistics hub such as the Benelux region.

“More than a service provider, our clients see us as a catalyst for the expansion of their UK operations”, explained Tony Brito, Cluster Director for Bleckmann in the UK. “From customs management to returns, we work to remove obstacles to growth, so they have better operational efficiency and more room to grow.”

End-to-end expertise for fashion and lifestyle brands

The continued expansion of Bleckmann’s warehousing footprint in the UK and elsewhere reflects the growing demand for specialist logistics services in the fashion and lifestyle industry. From enterprise-level global brands to emerging niche players, the customer experience continues to play an essential role in maintaining loyalty and growing revenue. Combining specialised expertise in fashion and lifestyle logistics with streamlined end-to-end distribution and tailored value-added services, Bleckmann allows brands to consistently deliver on their promises. “We look forward to providing even more brands with the targeted and scalable support they need to pursue their growth objectives”, added Tony Brito. “This new mega DC reflects our ambitions to further develop our specialised offering.”

The Metrocentre Partnership has announced that Inditex’s new-to-the-UK brand Lefties will join Metrocentre’s best-in-class retail line-up, making it one of the retailer’s first three UK stores. It also represents Metrocentre’s second deal with Inditex in Q1 2026, showcasing strong momentum across its fashion offer with the group.

Set to occupy a central unit at the interchange between Red and Green Mall on Town Square, Lefties will serve as a key anchor within Metrocentre’s dedicated fashion hub. The store will stock the brand’s trend-led collections for Women, Men, Teen Girls, Kids, Baby, Newborn, Home, Accessories and Footwear. Due to open in the winter of 2026, the store will represent the Spanish fashion retailer’s third UK location, and its first in the North East, strengthening Metrocentre’s position as the region’s leading fashion destination.

Lefties was founded in 1999, and the concept has been developing ever since, with the launch of its own collections over a decade ago. The brand has its own headquarters outside Barcelona, including commercial and design teams, who aim to bring accessible quality fashion to its customers.

This latest signing builds on continued leasing momentum within Metrocentre’s fashion category, following the upcoming arrivals of Hollister and Bershka, the latter also set to make its North Eastdebut this year. Sales across Metrocentre’s fashion category in Q1 were up 4.8% vs the same period in 2025, and womenswear, in particular, was up 9.2%, highlighting sustained appeal and demand from consumers in the North East.

Ben Cox, Director at Sovereign Centros from CBRE, Asset Managers of Metrocentre, commented: “We’re proud to confirm that Lefties are the latest exciting new entrant to commit toMetrocentre. As one of the first Lefties stores in the UK, this is another major endorsement ofMetrocentre as a key location for international brands investing in UK retail. Lefties’ trend-savvy offer will be a compelling addition to our retail mix, and this signing, once again, reflects the dominance and appeal of our scheme to both national and international retailers. With our consistent footfall, extensive catchment, and quality retail offer, we continue to stand out as the leadingdestination in the region.”

Lefties will join Metrocentre’s expansive fashion line-up, alongside other brands in the Inditex Group such as Stradivarius and Zara, and complementary names like Urban Outfitters, Hollister and Mango. It will also join other key anchors across the scheme, such as Flannels, Primark, and M&S.

Eternal Capri. A place of light, sea, and effortless living. For spring/summer 2026, Max Mara Beachwear pays homage to an iconic location and its timeless imagery: Capri in the 1960s. A capital of relaxed luxury and spontaneous sophistication, the island was the stage for 'La Dolce Vita'. It was a favourite retreat for great divas, poets, and personalities who symbolised an era. Here, amidst sparkling yachts and lemon groves, moonlit parties and seaside sunsets, a distinct aesthetic was born. It was refined, understated, and unparalleled.

These inspirations shape a collection designed to be lived in. The swimwear fits like a second skin, while cover-ups transform into travel wear. Each piece is constructed with Max Mara's distinctive tailoring. This attention to detail is tangible to the touch and visible in every element, designed for women accustomed to timeless quality and elegance.

The colour palette evokes the magnetic charm of the Amalfi Coast. Warm, rich tones like chocolate and sand alternate with deeper, more sophisticated shades such as coastal blue, aubergine, and camel. In contrast, the sharp primary colours of white, black, and cornflower blue create modern and refined visual balances. These are inspired by the brightness of Capri's colonnades and the brilliance of local ceramics. The prints are inspired by Amalfi majolica tiles, reinterpreted with a contemporary flair. Monochromatic foliage, light micro-geometrics, and refined details create a modern “Capri Style” that is true to its essence: never excessive, always authentic.

Among the new offerings is a line of shapewear swimwear featuring raw-cut edges and heat-sealed finishes, which are minimalist in design and perfect in function. The two-tone, reversible pieces prove to be modern and versatile essentials. The wide, ethereal caftans float lightly between the beach and the city. They can be worn with woven sandals or layered over trousers for an unexpected evening look.

The materials, selected for comfort and beauty, reflect a pursuit of absolute quality. These include silk crepe; silk and cotton voile; stretch poplin; cotton jersey and macramé; and silky or matte Lycra. Each fabric naturally interprets the functional elegance of Max Mara beachwear. A travel wardrobe to dream of and desire. A summer where every gesture is style and every moment is pure light.