US-based apparel group Kontoor Brands has appointed Erinn Murphy as vice president, global head of finance and operations for Helly Hansen and corporate investor relations. Murphy will join the company in early May.

As part of her new role, Murphy will relocate to Oslo, Norway, to serve as an international assignee and a member of the Helly Hansen leadership team. In addition to her responsibilities at the Norwegian outdoor brand, she will oversee corporate investor relations for the wider group.

Murphy joins Kontoor Brands from the US footwear company Crocs, where she held the position of senior vice president, investor relations and corporate strategy. Her career includes nearly 20 years of experience, notably as managing director of consumer equity capital markets at investment bank Piper Sandler.

Strategic focus on global growth

The appointment is intended to strengthen the leadership at Helly Hansen as Kontoor Brands seeks to accelerate the brand’s international expansion. Joe Alkire, executive vice president, chief financial officer (CFO) and global head of operations of the company, highlighted Murphy’s dual experience in corporate strategy and equity analysis.

“Having led investor relations and corporate strategy from within a high-growth consumer brand and nearly 20 years of experience covering global lifestyle brands as a respected senior equity analyst, she understands what drives long-term value creation from every angle,” Alkire stated.

Alkire added that Murphy’s perspective will enhance the operational depth of the Helly Hansen team while improving how the group engages with the investment community. Murphy also currently serves on the board of directors for the US-based e-commerce retailer Revolve Group.

Internal leadership transition

The arrival of Murphy coincides with an expanded remit for Michael Karapetian, the current vice president, global brand and operations finance and corporate investor relations. Karapetian will take on responsibility for all aspects of global brand and supply chain finance alongside corporate investor relations.

Karapetian is scheduled to complete his own international assignment at Helly Hansen in the third quarter (Q3) of 2026. This timeline allows for a transition period between the two executives to ensure operational continuity.

Kontoor Brands manages a portfolio that includes the heritage denim labels Wrangler and Lee, as well as the technical performance brand Helly Hansen. The group focuses on the lifestyle, outdoor and workwear segments on a global scale.

Madrid – The international Barcelona Bridal Fashion Week (BBFW) is now gearing up for its next edition, scheduled from April 22 to 26 in Barcelona. The five-day event will be entirely dedicated to the latest trends and developments in the bridal fashion industry. It will also serve to strengthen its profile as a leading “global event” and a key reference for industry professionals, having increased the proportion of international brands from outside Spain to 87 percent of its exhibitor offering.

This fact was particularly highlighted on Wednesday, April 8, during the official presentation of the upcoming 2026 edition of BBFW. The event, true to its unique format, will again be structured around two independent yet complementary programmes. First, the runway shows will take place from April 22 to 24. Second, the trade show will keep its doors open from April 24 to 26. Both segments will feature the 2027 season's trends in bridal, evening, and formal wear as their main focus. This edition will prominently feature the renowned and highly regarded French fashion designer Stéphane Rolland. He will showcase his creations in Spain for the first time as the international guest designer for this year's Barcelona Bridal Night.

Organised under the theme “On the Shoulders of Giants”, which aims to pay tribute to all those who contribute to the industry discreetly and anonymously through their work, “BBFW 2026 will once again place the creations of great designers in the fashion world's spotlight, promoting art, talent, and creativity, and highlighting the enormous work behind each piece,” stated Albasarí Caro, director of BBFW, during the presentation at the Gran Hyatt Barcelona hotel on Wednesday. The presentation was attended by Rolland himself. Caro also highlighted, as noted in statements shared by the fair's organisers, how the event will “simultaneously strengthen the industry's ability to open up to new horizons, discover high-potential markets, and generate real opportunities for the brands” participating in this edition, “in an increasingly global and competitive context”.

34 runway shows from April 22 to 24

Following the event's planned schedule, the “Bridal Fashion Week” portion will take place from April 22 to 24. It will feature runway presentations from 34 designers, 60 percent of whom are international. This figure is lower than the 44 designers who showed in the 2025 edition and the 37 designers from the 2024 edition.

Among this edition's participants, the BBFW management highlights Spanish houses such as Yolancris and Isabel Sanchís, as well as international brands like Peter Langner and Demetrios. These are the main names on a line-up that will be completed with the latest bridal, guest, and evening wear collections from designers and brands including Immaclé; Mariano Moreno; Andrea Lalanza; Amarca; By Loleiro; Marco&Maria; Oksana Mukha; Lazaro&Maison Pérez; Serina; Katy Corso; Joli Poli; Sima Couture; Ricca Sposa; Yulia Lobachóva Couture; The Atelier by prof. Jimmy Choo; Wang Feng; Vaishali Studio; Kiyoko Hata; Candelas y Felipa; Unbridled Studio; Olga Macià; Julia Kontogruni; Helena; Raquel López; Maria Pia; Allure; Diane Legrand and Justin Alexander

Stéphane Rolland, guest designer

Special mention must be made of the participation of French designer Stéphane Rolland, who will be the star of the 2026 Barcelona Bridal Night. The evening event will take place on the night of April 22, during which he will present a collection of 80 designs for the first time in Spain. These pieces will be complemented by creations from 23 students from Barcelona's design schools IED Barcelona, LCI Barcelona, and ESDI. The students' designs are made from fabrics donated by Gratacós and were developed under the guidance and mentorship of Rolland himself.

In addition to the runway show and mentorship, the French designer has donated 22 original sketches free of charge. These are being sold through the online page of the Kálida Foundation, an organisation dedicated to providing comprehensive psychosocial support to people with cancer, their families, and caregivers. This is part of a collaborative social initiative undertaken by Barcelona Bridal Fashion Week, Stéphane Rolland, and the Kálida Foundation itself. One hundred percent of the proceeds will go towards funding the Kálida Foundation's social work. For each donation of 500 euros, donors will receive not only one of the sketches but also two tickets to attend Rolland's show during the Bridal Night, as well as access to the post-show cocktail reception.

Trade show from April 24 to 26

Following the runway shows, the BBFW trade show will be held from April 24 to 26. The organisers note that this edition of the trade show is expected to feature around 420 brands, making it the “most international to date”. It will have 87 percent international brands from 36 countries, primarily the US, Italy, the UK, France, Ukraine, and Poland. However, despite this high percentage, the number of participants is expected to be lower than the 450 from the 2025 edition, although it will remain above the 405 that took part in the 2024 edition.

Among them, in addition to the brands presenting their latest collections on the BBFW runway, the organisers highlight the presence of brands from China, India, and Vietnam. These are all part of an exhibitor line-up that includes US brands such as Maggie Sottero, Morilee, Allure Bridals, and Justin Alexander; Australian brand J. Andreatta, which will make its debut at the show; brands from other European markets like Caroline Castigliano, Sassi Holford, and Rembo Styling; and haute couture houses such as Elie Saab, Zuhair Murad, Georges Hobeika, Viktor & Rolf, Antonio Riva, and Jenny Packham. The growing participation of brands from Asia is also noteworthy. The region “reinforces its role as a strategic hub for the sector,” according to the organisers, in this 2026 edition of BBFW, with brands such as The Atelier by Prof. Jimmy Choo (Malaysia), Serina and Kiyoko Hata (Japan), Wang Feng (Shanghai), Vaishali Studio (India), and Joli Poli (Vietnam).

Internationalisation cocktail on April 23

As a prelude to the trade show, BBFW has scheduled an opening cocktail reception for its trade show on April 23. The event is designed to boost the show's commercial relationships with both the Asian market and other international markets identified as strategic by the fair's management. BBFW, organised by Fira de Barcelona, is confident of achieving this goal with the help of a large number of visitors. Buyers are expected from various countries in Europe, Asia, and the Americas, including the US and Brazil. This will “reinforce its positioning” as “an essential commercial platform for brands that,” the BBFW management added, “are looking to expand their global presence and connect with strategic markets”.

HVEG Brands Group is taking a significant step in its ESG strategy. With the B Corp certification of Bamboo Basics, Brams Workwear and Maison de Paris, the group further embeds responsible business practices at the core of its organisation. The certification underscores the collective ambition to make a structural positive impact on people, the environment and society.

Within the group, there is a conviction that business extends beyond achieving economic results and can contribute to a more sustainable future for current and future generations. Achieving B Corp status serves as an independent validation. It confirms that the brands meet high standards of social and environmental impact, transparency and governance.

A collective approach

In 2024, HVEG Brands Group began an intensive B Corp process, guided by the Dutch consultancy NoDodos. This process focuses not only on what companies do, but primarily on how they operate. It assesses all parts of the organisation, from internal processes and employee policies to supplier relationships and environmental impact.

By undertaking the process at a group level, sustainability principles are not only implemented per brand but are also centrally embedded. According to the group, this ensures a consistent approach and provides scope for further growth without compromising on established standards.

Concrete steps in the supply chain

The transition to B Corp has led to concrete, measurable steps in the supply chain. For instance, agreements with suppliers have been tightened and formalised in a joint Code of Conduct. Production sites are monitored through independent audits, including BSCI and BEPI assessments.

Additionally, the use of certified materials has been expanded and packaging has been optimised with the aim of reducing ecological impact. Internally, there is also a greater focus on inclusivity, well-being and transparent policymaking.

Continuous improvement as a guiding principle

Within HVEG Brands Group, the certification is not seen as an endpoint but as the beginning of a continuous journey of improvement. The organisation continues to set ambitious goals and communicates openly about both the successes and the challenges involved in the transition to a circular fashion industry.

This approach aligns with the belief that social impact and commercial success can go hand in hand. By embedding these principles at the core of the organisation, HVEG Brands Group aims to contribute to a new standard within the sector.

Role of the brands

Within the joint certification, each brand retains its own identity. Bamboo Basics, known for soft and comfortable underwear, continues to focus on material innovation, including bamboo and Circular Made fibres. Brams Workwear and Maison de Paris translate the collective sustainability goals into their respective segments.

What connects the brands is a shared focus on quality, transparency and responsibility. By collaborating within the HVEG Brands Group, this vision is strengthened and further developed.

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The effectiveness of unified commerce relies on a fully integrated technology stack where every core function is native to a single platform, not just connected via temporary patches. The whitepaper identifies four critical systems:

• Centralised Inventory Management: Provides a "single source of truth" for stock across all warehouses and stores. This enables high-velocity fulfillment options like BOPIS (Buy Online, Pick Up In Store) and "ship-from-store" while preventing costly overselling.
• Unified CRM: Consolidates every customer interaction and purchase history into one profile. This allows retail staff to offer personalized service and loyalty rewards consistently, whether the customer is online or in-store.
• Modern POS: Acts as the in-store extension of the digital stack. It allows staff to access enterprise-wide stock, place "endless-aisle" orders, and process cross-channel returns effortlessly.
• Consolidated Order Management (OMS): Unifies orders from social, mobile, and web into one workflow. For fashion retailers, this is key to routing orders from the nearest location to cut delivery times and improve satisfaction.

Want to find out more? Get in touch.

Istituto Marangoni Firenze has announced a three-year partnership with Vranjes Firenze aimed at developing new educational pathways in fragrances and cosmetics.

The collaboration will introduce workshops, industry talks and real project briefs, giving students opportunities to explore scent as a strategic element in luxury design, retail and hospitality. A co-branded scholarship will also be launched to support emerging talent and encourage multidisciplinary learning.

Through the initiative, students will gain insights into fragrance creation, positioning and communication, while engaging directly with industry professionals. The partnership reflects growing interest in sensory design and its role in shaping contemporary luxury experiences.

Four emerging designers have been selected as finalists in the Maxxam x Graduate Fashion Foundation competition, which aims to support new talent in womenswear design ahead of Graduate Fashion Week 2026.

The initiative, led by textile innovator Rosemary Moore and the Graduate Fashion Foundation, challenges students to develop contemporary womenswear using Maxxam’s seamless stretch textiles.

The 2026 finalists are:

Each designer presented a concept combining creative direction with technical development, ranging from marine-inspired sportswear to adaptable swimwear and coastal-influenced layered designs. The finalists will now produce one full look in collaboration with Maxxam’s manufacturing partners.

Their finished designs will be showcased at Graduate Fashion Week 2026, where an overall winner will be announced on the gala runway. The competition aims to provide practical experience in textile innovation and support students transitioning into the fashion industry.

Marking their first collaboration, Carhartt WIP and Tokyo-based label F.C.Real Bristol have created a capsule collection spanning sportswear-inspired apparel, accessories and football memorabilia.

Founded in 1999 under the Japanese contemporary clothing brand SOPH., F.C.Real Bristol is centered on the concept of a fictional football club. It emerged ahead of the 2002 FIFA World Cup in Japan, conceived as a creative response to a largely unexplored space at the time – football apparel as everyday wear. Shaped by an amalgam of influences, F.C.Real Bristol’s name and identity draws on the UK’s deep roots in football culture, while referencing the creative communities and music scenes associated with the city of Bristol.

Building on a shared affinity for contemporary culture and functional design, the debut capsule from F.C.Real Bristol and Carhartt WIP is anchored in F.C.Real Bristol’s performance-driven shapes and fabrics, rendered in Carhartt WIP’s core shades of Dusty Hamilton Brown, wax, navy and black, finished with co-branded jacquard webbing. Styles include varsity jackets in thick interlock and warm-up jackets in lightweight nylon satin; game shirts and shorts in moisture-wicking weaves; and a knitted supporter scarf and socks, as well as a canvas cap. Memorabilia includes a brown rubber duck and a custom football.

The accompanying campaign, shot by Theodor Guelat, channels a surreal, abstract vision of football inspired by F.C. Real Bristol’s fictional club.

The collection launches on April 10 at select global retailers, Carhartt WIP stores, online and the Carhartt WIP App, as well as at SOPH. sales channels – SOPH. shops and SOPH. ONLINE STORE.

The release of F.C.Real Bristol x Carhartt WIP will be marked by a series of table football tournaments spanning Amsterdam, Barcelona, Kuala Lumpur, London, Milan, NYC, Paris, Seoul, Tokyo and Toronto. The events will be open to the public and take place from April 9–10.

Pierluigi Cocchini, chief executive officer of Rinascente since 2017, is the new European chief executive officer of Central Group. The company operates in seven European countries through Rinascente (Italy); KaDeWe (Germany); Globus (Switzerland); Illum (Denmark); and Selfridges Group (Selfridges – UK, De Bijenkorf, Netherlands and Brown Thomas Arnotts, Ireland). The portfolio includes retail properties such as Selfridges Oxford Street, KaDeWe Berlin, Rinascente Roma Tritone and Illum Copenhagen. In addition to the new European ceo, the company has strengthened its leadership with other appointments.

Cocchini joins as chief executive officer of Central Group

Cocchini, as European chief executive officer, will lead the strategic vision and operational coordination of the European network. A note explained he will be “promoting integration between the different banners; financial discipline; shared KPIs; and a cohesive leadership culture, while preserving the distinctive identity of each brand.”

Cocchini joined Rinascente in 2008 and was appointed CEO in 2017. Until then, he held the role of central sales director.

Mariella Elia, MD, Rinascente Italy to shoulder additional responsibilities

According to the management, these appointments reflect Central Group's commitment to building a solid European leadership platform. This platform will be capable of supporting sustainable growth, strengthening strategic partnerships and increasing the long-term value of its portfolio of luxury and premium department stores.

Giuseppe D’Amato, chief commercial officer, Europe, will define and implement the pan-European commercial strategy. This includes managing the brand portfolio; purchasing and category performance; marketing alignment; and the development of retail media. He will be the main point of contact between the European CEO and the local buying and marketing directors to ensure a measurable commercial impact in the various markets.

Chart Chirathivat, chief strategy officer, Europe, will lead the development of strategic partnerships with major global luxury groups. He will position Central Group's European banners as preferred partners for launches and strategic initiatives.

Consequently and in parallel with the appointment of Pierluigi Cocchini as European CEO, Mariella Elia will expand her role. In addition to her position as managing director of Rinascente Italy, she will also take on European financial coordination for Globus, Rinascente, Illum and KaDeWe. She will support alignment on financial governance, reporting systems and performance monitoring.

Lucia Guagliardi will continue in her role as managing director of Globus Switzerland, ensuring the continuity of the current commercial strategy.

André Maeder continues in his dual role as CEO of Selfridges and group CEO of Selfridges Group, a joint venture between Central and Pif. He will lead transformation, innovation and leadership in retail media across the group's four brands: Selfridges (UK); De Bijenkorf (Netherlands); and Brown Thomas and Arnotts (Ireland), in which Central holds a majority stake.

US luxury label Fear of God has announced a significant shift in its corporate governance following the departure of its chief executive officer (CEO), Bastien Daguzan. The Los Angeles-based brand confirmed it has “made the decision to remove the office of the CEO from its organizational structure,” according to a statement cited by multiple media outlets.

The company acknowledged the contributions made during the executive's tenure, stating that it recognizes the effort that supported the progress of the business and key initiatives through 2025. This structural change suggests a pivot in how the high-end label will manage its operations moving forward.

Shift toward founder-led vision

In its official communication, the label emphasized a focus on long-term brand identity over immediate corporate metrics. “Our responsibility extends beyond the successes and failures of the tangible. We are committed to an eternal vision guided by alignment, intention and consideration,” the statement noted.

The organization expressed gratitude for those who contributed to moving the brand closer to its internal purpose, while maintaining that the house remains focused on the path ahead. While the brand remains silent on specific leadership transitions, the removal of the CEO role could signal a return of founder Jerry Lorenzo to the operational helm.

Career trajectory of Bastien Daguzan

Originally from the south-west of France, Daguzan established a robust career within the European luxury sector before moving to the US market. He began his professional journey in 2008 at Belgian designer label Kris Van Assche, where he managed sales and development for five years.

In 2013, Daguzan transitioned to the role of managing director at French label Lemaire, collaborating with designers Christophe Lemaire and Sarah Linh Tran. He subsequently joined the Spanish group Puig in 2017, where he led the fashion division of French house Rabanne.

Transition from Jacquemus to Fear of God

Prior to his appointment at the Los Angeles label, Daguzan served as the first external managing director for French brand Jacquemus. He joined the Parisian house in 2022, which had previously been managed by founder Simon Porte Jacquemus.

After concluding his tenure at Jacquemus at the end of 2023, Daguzan joined Fear of God in September 2024. His next professional move has not yet been disclosed. Fear of God, which was founded by Lorenzo in 2013 and is widely recognized for its elevated basics, has not provided further comment on the restructuring.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereafter, YKK) has launched YZiP® Light, a lightweight aluminum alloy zipper for cotton pants, with sales beginning in late March. The introduction of YZiP® Light expands YKK’s zipper portfolio—led by the flagship YZiP® copper alloy zipper—providing customers with greater flexibility to meet diverse garment needs.

YZiP® Light delivers a weight reduction of approximately 50%*1 in comparison to the YZiP® copper alloy zipper for jeans. At the same time, sliding resistance has been reduced by approximately 15%*2, and lateral pull strength has been improved by approximately 26%*3 compared to a conventional aluminum alloy zipper. This enables YKK to offer a zipper optimized for cotton pants and similar garments with a fabric thickness of 0.6 millimeters or less that do not require washing processes.

The pressed aluminum slider used by YZiP® Light incorporates YKK’s proprietary molding technology, which enables press processing of aluminum—previously considered difficult due to the material's inherent properties. It also achieves the same appearance and functionality as the semi-automatic slider used in the copper alloy YZiP® zipper.

Furthermore, with the establishment of coloring technology for aluminum elements, YKK plans to expand its selection of color variations beyond the conventional silver and antique silver to include new options, such as gold and antique gold.

This product is a NATULON® zipper that uses recycled material for the tape. Approximately 25% of the cut zipper (15 centimeters) is made from recycled materials by weight.

Comment from Terry Tsukumo, Senior Vice President, Product Strategy Division, Global Sales Headquarters, YKK Corporation

YZiP®, which we developed in 1966, has been beloved by customers all over the world as a zipper for jeans for many years, and is one of the products which has played an important role in YKK’s development into a top global zipper brand. For our newly launched YZiP® Light, we brought together YKK’s technological capability to meet the demands for lightness and maneuverability required by zippers for cotton pants. Through the development of the pressed aluminum slider, YZiP® Light has overcome conventional challenges and achieved a balance of lightweight construction, functionality, and aesthetic appeal. In addition, we are contributing to sustainable manufacturing by promoting the use of the NATULON® zipper–which features tape made from recycled material, while also considering how to reduce our environmental impact.

YKK will continue to align with market needs and the values that society demands and promote product development aimed at even greater functional improvements.

*3: Compared with a traditional aluminum alloy zipper (YARNC-39 DS14GS1), based on YKK internal testing

Tokyo - Japanese ready-to-wear giant Fast Retailing (Uniqlo) on Thursday again raised its forecast for its 2025/26 fiscal year. This follows robust first-half profits. The company intends to accelerate its international expansion, particularly in the US, where it is partnering with the leading baseball team, the Dodgers.

The Japanese apparel champion had its fourth consecutive year of record profits in its 2024/25 fiscal year, which ended in late August. It has significantly accelerated its expansion outside the archipelago since the slow period of the Covid-19 pandemic.

It now forecasts an operating profit of 700 billion yen (4.40 billion dollars) for the 2025/26 fiscal year, which began in September, up from 650 billion previously. A net profit of 480 billion yen is also expected, up from the previous forecast of 450 billion.

Sales are expected to soar by some 14.7 percent for the fiscal year to reach 3.9 trillion yen, a forecast that has also been raised.

This improvement reflects strong results for the September-February period, boosted by “robust sales for Uniqlo in all regions, with the brand achieving record half-year results and ever-growing international support”.

For the first half of the year, the Japanese group's turnover soared by almost 15 percent year-over-year to 2.055 trillion yen. Net profit reached 279.2 billion yen, an increase of almost 20 percent.

Sales for Uniqlo, its flagship brand, recovered in Japan (+7.4 percent). They also soared by 22.4 percent internationally, generating an increase in operating profit of almost 40 percent year-over-year.

The turnaround is confirmed in China, its largest market outside Japan. While its sales and profits had plummeted there in the last financial year, Uniqlo International now reports a rebound in turnover for the first half. It also saw “double-digit” profit growth in mainland China, where it benefited from the Lunar New Year sales.

Meanwhile, Uniqlo is posting “double-digit” growth in sales and profits for the first half in both North America and Europe, stating that it sold its winter ranges well there.

The North American market is its most coveted prize. Fast Retailing has just signed a major agreement with the Los Angeles Dodgers, the champion team of the National Baseball League, whose ranks include star Japanese player Shohei Ohtani.

Uniqlo's red and white logo will be visible in the stadium. This is a way of capitalising on the passion of Japanese and American baseball fans, offering Uniqlo exceptional visibility.

According to Bloomberg, Fast Retailing generates less than 10 percent of its turnover in the US and has only 3 percent of its points-of-sale there, heralding significant growth potential.

International resale platform Vinted has unveiled its annual results for the 2025 financial year. The group reported significant growth in its global business volume, reaching 10.8 billion euros (12.59 billion dollars), a 47 percent increase on the previous year. Revenue totalled 1.1 billion euros, marking a 38 percent year-over-year increase.

This expansion phase was accompanied by a drop in the company's immediate profitability. Adjusted EBITDA stood at 151 million euros, a decrease of 5 percent, while net profit reached 62 million euros. This represents a 19 percent decrease compared to the 77 million euros recorded in 2024. The decline in profits is attributed to strategic investments in developing the German market; expanding product categories; extending logistics services across Europe; and introducing new payment solutions. Free cash flow, meanwhile, grew by 36 percent to 137 million euros.

Expansion of categories and geographical development

In 2025, Vinted focused on diversifying its product offering. Womenswear and kidswear remain the platform's core business. However, it has expanded its catalogue to include other consumer goods categories, such as sporting goods and collectibles, to attract a broader audience.

Geographically, the group improved its performance in the German market through an enhanced product proposition and targeted return on investment. Vinted also consolidated its European presence by entering new markets, including Latvia, Estonia and Slovenia.

Strengthening of the logistics ecosystem

The group continued to develop its infrastructure to support the growth of its transaction volumes. The delivery partner network now includes over 500,000 pick-up and drop-off points across Europe. Vinted Go, the internal transport service, was launched in Spain and Portugal, and a new sorting centre was opened in France. The company has also started testing its logistics infrastructure with external clients. Vinted Go currently operates in five markets: Belgium, France, the Netherlands, Portugal and Spain.

In a statement, Vinted's chief executive officer, Thomas Plantenga, suggested the company's strategy is to create a resale ecosystem that maximises value for its members at the lowest possible cost. “To achieve this,” he said, “we are investing in technology to have a sustainable and scalable impact.” He added: “This is why we are improving our product, investing in member safety and support, while strengthening the pillars that underpin the marketplace: shipping and payments.”

Plantenga noted that these technological developments lead to faster sales, with buyers finding what they want more easily and “at the best price”. He specified that value increases as the marketplace improves significantly with each new member. He concluded: “In 2025, this occurred across every growth vector we have, resulting in strong growth and, more importantly, a more efficient and solid foundation that will drive the future shift from new to second-hand consumption.”

This article was written in part with the assistance of an artificial intelligence tool and was subsequently edited and completed by a FashionUnited journalist.

Paris, France - Swedish ready-to-wear group H&M plans to close the French design studio of its brand & Other Stories. A representative for the brand confirmed this to AFP after the trade union Force Ouvrière raised concerns about the elimination of just under 30 positions.

"We must continue to strengthen our business for the long term and ensure a sustainable operating model in all the markets where we operate," the fashion giant explained.

"To meet these challenges, we plan to close our Paris studio with the aim of consolidating the entire creative and design team in Stockholm, Sweden," the group continued. It declined to comment further as the process is currently under consultation with employee representative bodies.

According to Force Ouvrière, 26 of the 28 designer and buyer positions will be eliminated. “These roles are held almost exclusively by women, some of whom have been with the company since it opened more than ten years ago,” Nicolas Levy, an FO H&M union representative, told AFP.

According to the union representative, “the brand’s turnover has decreased” since the arrival of new creative director Jonathan Saunders in 2025, which would explain the move to cut costs.

Founded in 2013, & Other Stories offers womenswear and accessories. The brand has a global presence with 66 stores, including three in France, across 24 countries and is available online in 32.

In the first quarter, H&M reported a 22 percent increase in its net profit, reaching 704 million crowns.

Finnish textile technology company Spinnova has started test runs at its Woodspin demonstration factory in Jyväskylä, the company announced in a press release. The aim of these trials is to validate its recycling technique, which converts plant-based material into textile fibres, on a larger scale to increase production efficiency and fibre quality. If the test phase is successful, Spinnova aims to resume larger-scale production later this year.

The restart follows a turbulent period for the company. In June 2025, production came to a complete halt and employees were temporarily laid off after former joint venture partner Suzano decided to cease further investment. Spinnova subsequently took over all of Suzano's facilities in October to maintain control over the development of the Spinnova fibre.

CEO Janne Poranen emphasises that this step should pave the way for future industrial supplies to fashion companies. Serious interest in purchasing the recycled fibres has previously been shown by apparel companies such as H&M Group, Marimekko and The North Face. Last month, Swiss industrial engineering and manufacturing company Sulzer joined as a tech partner to accelerate scaling and help improve Spinnova's competitive position.

Canali and FC Internazionale Milano are pleased to unveil the new official outfit for the Spring/Summer 2026 season, continuing a collaboration that brings together two Italian excellences united by shared values of style, identity, and innovation.

Designed to accompany First Team players during the warmer months, the new Canali proposal offers a contemporary interpretation of dynamic elegance, blending tailoring and functionality in a natural balance. The collection reflects an evolved approach to formalwear, where comfort and practicality become essential elements, without compromising a refined and distinctive aesthetic.

At the heart of the season is the broken suit, a casual tailoring concept that redefines the codes of contemporary dressing. The look features a leader jacket with snap buttons and an elasticated hem, crafted from 100 percent Impeccabile wool, paired with drawstring trousers in the same fabric, presented in the signature navy blue.

The Impeccabile line represents one of the highest expressions of Canali’s research in textile and sartorial innovation. The outfit is designed to ensure a consistently polished appearance, thanks to fabrics that combine lightness, breathability, and crease resistance. The result is a garment that maintains an impeccable allure in every situation, naturally adapting to the pace and demands of an active sporting lifestyle.

Completing the look is a structured cotton and silk T-shirt, fresh and luxurious to the touch, offered in a milk shade and enhanced by Verde Brianza details, a distinctive signature of Canali’s identity.

Canali and Inter continue to represent two complementary worlds: on one side, the brand’s sartorial culture and vision; on the other, the Club’s energy, passion, and international dimension. A partnership that is renewed season after season, on and off the field.

The collection is available online and in selected Canali flagship boutiques.

The BOGNER Golf Spring/Summer 2026 collection captures the lightness of summer, seamlessly combining performance with style - for active days on the golf course as well as relaxed moments afterwards. Perfectly curated looks and functional details define the unmistakable BOGNER aesthetic, ensuring a confident and refined appearance.

The new golf styles offer a smooth transition from peak performance to laid-back leisure. Premium, innovative materials, thoughtful design, and precise fits elevate the collection to a new level. The result is a range of versatile looks that merge functionality and performance with a modern, sophisticated edge - from the first drive to the final putt.

The buying season for autumn 2026 is now largely complete. As the next season approaches, retailers are shifting their focus to adjustments and additional buying opportunities. The in-season period provides a chance to respond to rapidly changing demand, new trends and unexpected bestsellers. Which styles remain commercially reliable? Where is demand shifting? What price points ensure a good sell-through rate? FashionUnited spoke with several Dutch retailers and trend experts about the key footwear trends and market developments.

Autumn 2026 trends through the eyes of Coef

Coef is a Dutch fashion retailer with seven stores across the Netherlands. FashionUnited spoke with a buyer at the company, Yahya Öztürk.

At Coef, the vintage running segment remains the biggest draw, with tech-inspired retro models currently selling extremely well. “Think of the 1906 model from New Balance and the Kayano 14s from Asics,” Öztürk told FashionUnited. The retailer expects this trend to peak in summer 2026. According to the buying team, a clear shift towards a more formal silhouette is emerging for autumn. Loafers, dress boots and moc-toe lace-ups are gaining ground, but with lightweight, sneaker-like soles for comfort. “The Kleman Padror is a perfect example of this,” said Öztürk.

In the womenswear collection, the return of the boot is particularly noticeable. This segment is remarkably trend-sensitive. Female consumers quickly adopt a trend but abandon it just as fast, whereas men remain loyal to a current style for longer.

Physical stores remain central to Coef

Physical stores remain the cornerstone of the strategy, although e-commerce plays a significant role for scarce products. Coef sees an online peak for hard-to-find models due to its national reach and targeted searches by article number or specific colourway. The buying focus is now shifting heavily towards price and sell-through rate. The optimal price point is around 170 to 180 euros; models priced above 200 euros demonstrably sell more slowly. Colour is also a determining factor for success. When a style can be bought in multiple versions, one distinct colourway—currently variants with brown or earth tones—often accounts for the majority of sales.

Comfort is a fundamental requirement in the selection process, evident in the emphasis on sole construction and wearability. Sustainability is approached through longevity and long-term relevance rather than explicitly ‘vegan’ or experimental materials, which are less popular in footwear, according to Öztürk. The collection structure for autumn 2026 also shows how fast the market has become. Approximately 20 percent consists of carry-over styles from previous seasons, compared to 80 percent new models. Classic styles are giving way to continuous innovation, driven by social media, which makes consumers seek out the latest models and colourways more quickly.

Klup de Dag on balancing trends and reliability

Dutch fashion retailer Klup de Dag operates three stores in Leeuwarden, Groningen and Zwolle. FashionUnited spoke with Rick Klap, its co-founder and owner.

Within the footwear segment, sneakers remain the main revenue driver for Klup de Dag for spring/summer 2026. The highest sales figures come from specific, recognisable models: the Spezial and Samba from Adidas; the Gel-Kayano, 1130 and Gel-NYC from Asics; and the 1906 and 740 from New Balance. The Utti from Birkenstock has also proven to be a surprising bestseller. “These models in various colourways make up our top ten and account for about 70 percent of total footwear sales so far for SS26,” said Klap. For the summer, expectations are high for Birkenstock again, with the Boston and Utti as key drivers.

Although the company has a webshop, its main focus is on physical retail. According to the co-founder and owner, its strength lies in personal contact and the fact that customers deliberately seek out the city-centre stores. The starting point for buying is an analysis of the previous season. Models and colours with the highest sell-through are scaled up, while underperforming items are phased out. The retailer finds it increasingly difficult to predict hypes due to the speed at which trends develop on social media. Marketing promises from brands, therefore, do not play a decisive role. “We have too often seen a brand claim to be focusing on something that is not reflected in our sales figures.”

The retailer therefore consciously chooses to work with strong, established brand names. Building up a relatively unknown label has yielded too little return and support in the past. This strategy means often working with lower margins, but it offers more commercial security. Footwear is not a primary revenue category for the company; it complements the overall product range and store aesthetic.

Safety over hypes

In the showrooms for autumn 2026, the retailer sees a broad and diverse trend landscape. Technical runners are adopting outdoor influences; indoor sneakers are moving towards performance; and in the formal segment, loafers remain prominent alongside a growing range of derby and moc-style lace-ups. “Ultimately, everything will blend together,” said Klap. The buying strategy is therefore deliberately safe, with a fashionable edge here and there, and without the pressure to necessarily stock the next big hype.

Trend expert Jan Agelink on hybridisation and expression in footwear

FashionUnited spoke with trend forecaster and watcher Jan Agelink, who has been a trend expert for many years, advising brands on consumer behaviour and fashion developments. He is also the owner of the creative agency Buro Jantrendman.

Trend expert Jan Agelink offers a nuanced view of a clear shift away from retro sneakers. According to him, these styles are not disappearing but transforming. They remain visible on the catwalk, albeit in a more refined form. “Think of slimmer silhouettes, ballerina-style sneakers and influences from martial arts and classic football heritage, sometimes combined with sock-like elements,” said Agelink. At the same time, in line with retailers, he sees a growing importance for more formal styles like loafers and dress boots, which fit into a broader movement towards tailoring and craftsmanship.

This development is linked to deeper, underlying shifts. Agelink believes there is a growing appreciation for craftsmanship, materials and tactility as a counter-reaction to digitalisation and AI. “We are moving more towards the physical, away from the purely digital,” he stated. The digital world remains visible in futuristic sneakers and technical influences. Outdoor and survival elements are also gaining ground, with organic shapes, natural materials and new prints.

Within this tension, more room for experimentation is emerging. According to Agelink, footwear is increasingly developing into an expressive segment, particularly in the womenswear market. He points to the rise of the so-called 'blokette' style, where sneakers are enriched with decorative elements like ruffles, lace or rhinestones. “It sits between sport and embellishment and makes the sneaker more expressive,” he explained.

Agelink is nuanced about the supposed acceleration of trends. Although social media and platforms like TikTok give the impression that everything is moving faster, he sees this partly as a matter of framing. “Classic models like loafers and runners persist, but they are constantly being reinterpreted.” He believes the tension between creativity and commerce also remains a constant factor. The market is cautious, but distinctive designs are necessary to stay relevant.

For the period after autumn 2026, Agelink expects further hybridisation within footwear. The boundaries between tailoring and sportswear are becoming increasingly blurred, with shoes combining classic shapes with technical elements. “That cross-pollination will continue,” said the trend expert, who expects that traditional models like loafers will also continue to evolve into new, more functional and outdoor-inspired versions.

Christine Boland on how classics are reshaped between recognition and renewal

FashionUnited also spoke with Christine Boland, a trend analyst and zeitgeist interpreter known for her in-depth insights into the social and cultural movements behind fashion.

Footwear trends for the coming seasons are strongly influenced by the need for familiarity in an uncertain and rapidly changing world. According to Christine Boland, we are seeing a desire for classic, trusted models like loafers, ballet flats and sneakers. On the catwalks of Chanel and Simone Rocha, among others, you can see how these classics are being given a new twist. Familiar shapes remain intact but are distorted in proportion, material or detail. Think of ballet flats with sporty stripes that transition into ribbons, or a classic silhouette that is suddenly enlarged or reduced.

Boland calls this development ‘Liberating Conventions’: letting go of fixed rules within familiar styles. Classic shoe types remain recognisable but are approached in an unconventional way, for example, by embellishing a loafer, distorting a sneaker or deconstructing a traditional shoe. It is about combining something familiar with an unexpected twist, making designs feel both safe and innovative.

The need for individuality also plays a major role. In response to the increasing uniformity caused by technology and AI, consumers want to stand out. This translates into personalisation, such as adding charms, ribbons and other decorations. Comfort is a basic requirement but does not exclude distinctive designs. For example, the autumn/winter 2026 show from Saint Laurent shows that there is still room for extremely elegant, sharp pumps that are primarily an aesthetic choice.

Paris - Building on “solid performance” in a “complex environment”, the Galeries Lafayette group announced on Wednesday an investment plan of 260 million euros by 2030. The company has the ambition of making its Parisian flagship on Boulevard Haussmann the “world's leading department store”.

The historic brand has an international presence with 17 integrated and 38 affiliated points of sale in France. It achieved a turnover of 3.1 billion euros in 2025. This figure is stable year-over-year due to the closure of two stores in Marseille and the end of an affiliation contract with SGM (the operator of BHV). However, it represents an 11 percent increase compared to 2022, according to its management.

Two billion euros in sales

Two-thirds of the business comes from the Galeries Lafayette on Boulevard Haussmann. With two billion euros in sales (+4 percent year-over-year), the department store has “surpassed” its 2019 pre-Covid-19 pandemic level, highlighted the group's chief executive officer, Arthur Lemoine, during a press briefing. This was achieved despite a general decline of 1 percent in the clothing and footwear market in 2025.

According to the group, this performance is attributed to the recent transformation of the “Coupole building” for 100 million euros and the growing strength of sectors such as beauty and footwear.

Deprived of part of its Asian clientele during the health crisis, the department store also refocused on French shoppers, who accounted for 40 percent of its sales in 2025, compared to 33 percent in 2019. The share of Chinese customers fell over the same period from 33 percent to 22 percent, while that of other nationalities rose by 5 percentage points to 38 percent.

The establishment, “the most visited place in Europe” with 35 million visitors in 2025, is one of the top three department stores alongside Harrods in London and Isetan in Tokyo. It aims for the top spot “in terms of turnover; experience; differentiation; and service,” said Alexandre Liot, deputy chief executive officer of Galeries Lafayette.

The executives did not detail the breakdown of the 260 million euros of investment planned for the group. They only specified that 25 million will go towards the renovation of the menswear building on Boulevard Haussmann in 2026 and 2027, while six million will be dedicated this year to modernising the Nice store.

Madrid – New York-based fashion brand Altuzarra, founded by French-American fashion designer Joseph Altuzarra, is restructuring its management with the appointment of Spanish executive Marta Lastra as the brand's new chief executive officer. She assumes the position with immediate effect, taking over from the designer himself. He will now rely on the Spanish executive's expertise to refocus all his efforts on the brand's creative direction.

President of Altuzarra since September 2024, Marta Lastra's appointment as the new CEO sees the brand return to the executive structure it had before December of that year. At that time, the departure of Shira Sue Carmi, the brand's chief executive officer for the previous five years, was announced. Joseph Altuzarra then took control of the company, assuming the role of CEO in addition to his responsibilities as founder and creative director. The creative is now stepping down from these responsibilities with immediate effect. This move is presumably with the approval of US investment company P180, a minority investor in Altuzarra since late 2024. His purpose is to once again dedicate himself entirely to his duties as the brand's creative director.

“Marta has been an exceptional leader and partner. Her deep understanding of the business, combined with her strategic vision and operational expertise, have been invaluable to the company,” said Joseph Altuzarra in a statement to US news outlet WWD. “As Altuzarra continues to grow, I am excited to focus more on the creative vision of the brand, working closely with Marta as she leads the company into its next chapter.”

From management assistant at Tommy Hilfiger in Madrid to CEO of Altuzarra in New York

A telecommunications engineering graduate with an MBA from ISEM Fashion Business School, Marta Lastra first entered the fashion world in 2009. She moved from the consulting firm Accenture in Madrid to a position as management assistant at Tommy Hilfiger in Spain. This role was followed by a brief stint at the Spanish brand Loewe in Madrid, from where she eventually moved to the US. In 2010, she joined Ralph Lauren as senior manager of product development and accessories production. She was part of the group for just over three years before moving to the position of senior director of handbag and footwear production at The Row, the fashion brand founded in 2006 by sisters Ashley and Mary-Kate Olson. She remained with the brand for over five years, from September 2014 to January 2020, when she finally joined Altuzarra as vice president of studio operations. She was subsequently promoted to chief operating officer, then president, and now, finally, chief executive officer of the brand.

In her new role, according to the fashion house, Lastra will oversee the brand's entire global strategy and operations. She will also lead Altuzarra's new phase of growth and expansion. To accomplish these tasks, she will draw on two key assets. The first is what the company describes as its current strong momentum. The second is the extensive experience and in-depth knowledge of the company that Lastra has acquired during her six years and four months with Altuzarra's management.

“I am honoured to take on the role of CEO at such a pivotal time for the brand,” Lastra stated. “Altuzarra has built a strong foundation based on creativity, craftsmanship and a loyal global clientele. I look forward to collaborating with Joseph to expand the business, strengthen our market position, and drive long-term sustainable growth.”

Kontoor Brands has expanded the role of chief financial officer Joseph Alkire, who will now also take on global responsibility for the Helly Hansen business.

The move, effective immediately, adds brand leadership to Alkire’s existing responsibilities as CFO and global head of operations, reflecting a strategic focus on accelerating growth across Kontoor’s portfolio.

In a statement, Scott Baxter, president, CEO and chairman of Kontoor, said: “Joe has been my strategic partner since the early stages of the acquisition, leveraging our collective experience in the outdoor category to shape the role Helly Hansen will play in Kontoor's next phase of growth.

"There is no one better positioned to guide the Helly Hansen brand forward as we focus on creating broad-based momentum, positioning the brand to deliver strong revenue and profit growth over time.”

Alkire will work closely with Børre Hegbom, SVP and global head of Helly Hansen, to support the brand’s continued development. Hegbom was appointed to the dual role months after Kontoor finalised its acquisition of Helly Hanson, adding it to its portfolio that already includes Wrangler and Lee.

Alkire said: “Under Børre Hegbom's leadership...the team has built tremendous momentum. I look forward to partnering closely with him and the entire team to ensure the brand has the resources, operational support and strategic focus it needs to accelerate growth and profitability.

"Together, we are focused on expanding our reach and leadership position in the global outdoor and workwear categories.”

American performance and lifestyle brand Vuori is continuing to drive its global presence after signing a new multi-year partnership with British actor, producer, and entrepreneur Tom Holland.

In a statement, Vuori said that Holland would be joining forces with the company as a “creative, strategic, and financial partner,” where he would become a long-term collaborator on future storytelling, creative projects, and brand expressions, as it looks to raise the profile of the brand internationally.

Joe Kudla, founder and chief executive of Vuori, said: “At Vuori, we’re drawn to people who share our philosophy on performance and life, learning, growing, rising, and staying fully engaged in the process.

“Tom represents that mindset. He’s driven but centred, disciplined without being self‑defeating. We believe an extraordinary life is built from the inside out, by committing to the daily work, embracing setbacks, and focusing on what’s within your control. How you move through reroutes matters as much as the outcome, and Tom embodies that belief in a way that feels human, real, and rooted in the journey.”

Vuori’s collaboration with Holland launches with a golf-inspired spring 2026 campaign, ‘Play It As It Lies,’ which includes a short, cinematic film co-created and co-directed by the actor’s brother, filmmaker and producer Harry Holland, alongside co-director Harrison Boyce.

Commenting on the partnership, Holland added: “Vuori represents a way of moving through life that really resonates with me. It’s about pushing forward, staying positive, and not losing perspective. Also, working on this campaign with Harry and my brothers in a beautiful place brought an extra layer of meaning to it all.”

Tennis star Jack Draper, currently the UK’s number one-ranked tennis player, continues to be one of the sport's most marketable athletes after announcing a new sneaker partnership with Swedish footwear brand Axel Arigato.

The move marks Axel Arigato’s first collaboration with an athlete, as part of the Swedish brand’s strategy to expand its cultural influence in sport, as well as Draper’s first time collaborating with a lifestyle sneaker brand as a creative collaborator.

In a statement, Axel Arigato, known for its fusion of Scandinavian minimalism and Japanese-inspired design, said the partnership with Draper was developed in “close dialogue” with the brand’s creative director Jens Werner, and comes from the tennis stars' “longstanding affinity” with wearing Axel Arigato sneakers.

Commenting on the collaboration, Werner said: “Working so collaboratively with Jack has really allowed us to create products rooted in our long-standing inspiration from tennis and to look to the traditions of the world’s biggest tournaments.

“His genuine love for our sneakers, and the fresh perspective he brings to them, pushed our colour and material stories into exciting new territories. His vision is reflective of what a new era of modern athlete can be, a talent that extends beyond just the court and into pop culture.”

The partnership will see Draper reimagining an Axel Arigato classic “inspired by the cities, energy, and atmosphere between matches that define the sport’s most influential moments”. The collaborative collection will launch later this spring.

Draper added: “I’ve loved Axel Arigato footwear since I was 17, and when I won my first professional paycheck, I bought three pairs of their shoes…so to have the opportunity to collaborate with a brand I love has been incredible.

“Working closely with Jens and the footwear team made the process special and gave me creative freedom to design footwear that reflects my style.”

This is Draper’s latest foray into fashion and proves how marketable the British tennis star is after starring in campaigns for heritage brand Burberry and being featured in fashion magazines, including Vogue and Esquire.

Draper also became the first tennis star to sign a multi-year deal with California-based performance and lifestyle brand Vuori in August 2025, to expand the brand's reach in the tennis and will develop his own “signature line”. In addition, in March 2026, Draper joined Japanese sportswear brand Asics roster of athletes, and will wear the brand’s tennis shoes on the ATP tour.

The court-ordered judicial administration for Valentino Bags Lab SrL, a company belonging to the fashion house Valentino, has been ended early, according to media reports.

According to a report by the news agency Reuters, the measure was imposed in May last year because the company, which produces accessories for the Valentino brand, allegedly worked with Chinese-led subcontractors where exploitative working conditions were prevalent. A one-year judicial administration was ordered at the time. This has now been lifted early.

According to the report, the fashion house welcomed the decision. The company stated it has strengthened its governance criteria and introduced more selective procedures for choosing suppliers to ensure better monitoring and control of the supply chain. Last year, Italian courts targeted a number of fashion companies to curb illegal labour practices at subcontractors.

In London, the department store Harrods is dedicating an installation to Schiaparelli, following the “Fashion Becomes Art” exhibition at the Victoria & Albert Museum (V&A). By engaging with this cultural moment, the retailer is creating a dialogue between the shopping experience and artistic references.

Harrods is combining its in-store activation with the “Fashion Becomes Art” exhibition at the V&A, which runs until November 8, 2026. As the exclusive UK distributor for Schiaparelli, Harrods is positioning the French house beyond a purely commercial promotion.

“At Harrods, we believe the retail experience should go beyond simply offering products,” stated Alex Wells-Greco, director of visual creative at the department store, in a press release. “When fashion resonates with the city's major cultural moments, it creates an opportunity to tell richer stories and build deeper emotional connections with our visitors.”

The activation begins outside and continues into the store, along the path to the first-floor boutique. In a playful manner, the public is invited to view visuals through keyholes, stylised keyhole shapes characteristic of the French house's surrealist spirit.

The images are from the book Anglomaniac, dedicated to Schiaparelli. This book, published by Skira and edited by Thierry-Maxime Loriot, brings together nearly 50 British creatives. These include photographers; stylists; makeup artists; illustrators and performers inspired by the house's surrealist world, which blends artistic references, the subversion of everyday objects and sculptural silhouettes.

Harrods/Schiaparelli: a relationship dating back to the brand's beginnings

“As London hosts the very first Schiaparelli exhibition in the UK, it felt natural for us to celebrate this moment alongside the V&A,” said Simon Longland, director of buying at Harrods. “Through these activations, we are delighted to offer our customers the opportunity to discover the house's exceptional creativity, both within our store and in the city's broader cultural landscape.”

The activation highlights the creativity and the ties the house of Schiaparelli, founded by Elsa Schiaparelli, has maintained with London since the 1930s. During that period, the designer developed a British clientele and collaborated with prominent artistic and photographic figures, such as Cecil Beaton and Norman Parkinson.

Artists featured in the book Anglomaniac include Cecil Beaton, Norman Parkinson, Nick Knight, Tim Walker and Pat McGrath.

In 2023, Harrods opened the first Schiaparelli boutique in the UK market on its first floor luxury department. In 2025, this space was expanded to include an offering of ready-to-wear, accessories and jewellery. The boutique was designed by the house's current artistic director, Daniel Roseberry.

Footwear and apparel brand Skechers has launched its debut permanent proto hologram retail experience at its Manhattan Beach store in Los Angeles. 

The experience sees Skechers brand ambassador Howie Mandel ‘brought to life’ via an interactive, immersive 3D hologram installation.

Said to be among the first permanent proto-hologram installations to open in a footwear retail environment, the experience sees Skechers introducing a new avenue for in-store storytelling. Customers can interact with a life-size hologram of Mandel, take a “proto selfie” with him, and access a special promotion. 

The 3D hologram launch is said to link back to the start of Mandel’s partnership with Skechers, as prior to becoming a brand ambassador, Mandel walked into a Skechers store, took a selfie, and joked he should get a discount for representing the brand. That joke turned into a partnership, and shoppers can relive that moment by taking their own selfie with Mandel's hologram.

Combining entertainment, technology, and retail in one, the hologram installation is another example of how brands and retailers are experimenting with new technologies to turn physical stores into engaging, tech-powered experiences. According to Michael Greenberg, president of Skechers, the new 3D hologram installation is just the beginning, and he hopes to see it rolled out to thousands of Skechers stores.

“We love technology. Skechers is a technology company, so it makes sense for us to pioneer new technologies,” said Greenberg at the launch event. “Retail is theater, and we’re excited about how technology can enhance it. The proto is just the beginning of what this technology and other personalities can do.”

The Proto hologram OS is capable of complicated AI-powered interactions, and brand ambassadors can also appear live inside the Proto unit, interacting with shoppers in real time, while AI avatars can hold conversations in any language. Other brands that have previously used in-store holograms to create unique, immersive experiences include Nike and Puma.

A perfect smile, a flawless body, an outfit that fits like a glove. The image looks normal in an online shop; after all, it is a model. Or is it? Increasingly, these images are not created by real people, but by artificial intelligence (AI). Companies are using AI more and more in their online shops, promising speed, efficiency and lower costs. For models worldwide, this raises a fundamental question: will the industry even need real people in front of the camera in the future?

AI in the daily life of international models

“AI is no longer a topic for the future. It is already part of our daily work,” Ukrainian model Stasya tells the German Press Agency. She has worked as an international model for several years, most recently for an extended period in China. She experienced the AI transformation particularly clearly there, with faces being digitally transferred onto other bodies after shoots. Working hours have also been shortened, which she sees as a consequence of using AI. This raises serious ethical and legal questions.

Clients are also now presenting contracts that explicitly permit the use of models' faces for AI purposes. “You think about job security and whether you can still earn enough in the future,” she reports. Simultaneously, she sees a potential market shift. AI could accelerate standardised mass production, while high-quality campaigns with real teams and physical sets could gain exclusivity.

Diversity: Real variety already exists

Berlin-based model Annika Schnauffer does not see AI as a dominant threat. Competitive pressure is already a given in an overcrowded industry. It often remains unclear whether a job is lost because of AI. She can most easily imagine digital figures in standardised e-commerce, where large quantities of images are produced with little creative scope. Schnauffer is critical of the diversity debate. AI can simulate diversity, but she notes, “there are enough people and models that you could book for real”.

AI has already arrived in German e-commerce

AI models are no longer a vision of the future in Germany. Hamburg-based retailer Otto already uses generative AI to create photorealistic model images of synthetic, fictional people, according to the company. This allows new collections to be made available online within a few hours. Its use is limited to the online shop and only for product presentations where real people were not previously featured, the company states. AI primarily fills the gaps where traditional photo productions reach their economic or organisational limits.

Online fashion retailer Zalando is taking a different approach. The company works with digital twins of real models, according to its statements. These high-resolution 3D replicas are created based on traditional photoshoots. Real people continue to be in front of the camera for creative campaigns. The company states that it only uses purely AI-generated models without a real-life counterpart in exceptional cases, for instance, to avoid shoots with children or to react quickly to trends.

Model agencies between resistance and adaptation

The debate within model agencies is running in parallel, focusing less on technology and more on rights. “We are not currently experiencing a massive loss of bookings,” says Carlos Streil, a model scout at Frankfurt-based agency East West Models. However, there have been enquiries, including from major clients, with contracts requiring models to cede rights for AI use, such as for data collection and subsequent use as an AI model. These agreements have been rejected. In principle, however, the agency is not against AI, as long as avatars are created based on real models and the models continue to be paid.

Carmen Weigel, head of the Berlin-based model agency BMM, argues with similar pragmatism. She considers Zalando's approach promising. Digital avatars of real models could be licensed without the models having to be physically present on set. This is economically attractive, as licensing fees are often higher than traditional day rates. However, she does not expect a widespread displacement of real people. For Weigel, modelling is more than being photogenic: “For me, a model is more of a talent,” she says. “It is not just about being beautiful, but about charisma, posture and the potential for identification.”

Legal aspects: Labelling, consent and guidelines

Legally, much remains unresolved, especially the question of how AI-supported content in e-commerce must be labelled. Weigel calls for clear labelling and warns against new, even more unrealistic body images, with consequences for models and young women who would end up comparing themselves to computers.

Although she believes this is difficult to regulate by law, agencies must be particularly cautious when licensing their models' images for AI avatars that could be resold to brands. Models need to understand exactly what is happening with their face and be adequately compensated. Weigel also points to the long-term dimension. A face, once digitised, could continue to be used long after death, making informed consent and clear contractual limits all the more important.

Otto describes the debate in Germany and the EU as being “in flux”. Binding regulations and guidelines for e-commerce have not yet been finalised. While Zalando emphasises its commitment to transparency, it still sees grey areas. For digital twins based on real models and real clothing, where AI only supports parts of the production, the label “AI-generated” can sometimes fall short.

Customer decides

Ultimately, it is the market, not technology alone, that decides, says Streil. Weigel agrees: “In the end, customers vote with their wallets.” Brands have already experienced how public pressure can change strategies. Weigel points to “Victoria's Secret”. After criticism of its narrow beauty ideal in the 2010s, customers turned away, sales fell and its image faltered.

How the industry will continue to develop remains to be seen. For Schnauffer, it is also a question of power: “In the end, as a model, you are somewhat at the mercy of how the industry moves forward.” The decisive factor will likely be whether clear rules can be established for consent, use and remuneration when faces become data.

Madrid – Optimism is taking hold of the markets following the hopeful bilateral ceasefire agreed between the governments of the US and Iran in the early hours of Wednesday, April 8, Central European Summer Time. The agreement, reached for the next two weeks, is based on open negotiations for a “definitive” and “long-term” peace deal. It will also guarantee “safe passage” through the Strait of Hormuz.

Given such an encouraging outlook, the markets have responded swiftly to the beginning of the end of a crisis. This crisis was already impacting consumer spending and affecting a wide range of companies across various sectors. The response has sent the share values of major European listed companies soaring. This revaluation of shares has been seen almost across the board throughout the day. For the IBEX 35 index, the only exception has been energy companies. Their share values are in the red, which can be attributed to the fall in oil and gas prices resulting from the “guarantees” for the opening of the Strait of Hormuz.

Within the fashion industry specifically, the performance has been diametrically opposed to the “Black Monday” on March 2. That day followed the attacks on Iran by the US and Israeli armies on February 28. Major European listed fashion companies are generally experiencing a very positive trading day. The market's optimism for the sector is proving much stronger than the fears expressed after that last Saturday in February. The current gains far exceed the losses recorded at that time. It should be noted that those losses were followed by several successive days of falling share values for major European listed fashion companies. The sector had been triply affected by this latest crisis in the Middle East. Firstly, by disruptions to its value chains, which led to delays in certain product deliveries. Secondly, by increased costs related to both imports and manufacturing processes caused by the same disruption. Thirdly, by a drop in consumption that was beginning to be felt among consumers, resulting from the uncertainties generated by the crisis.

European fashion is “dressed in green” on the stock market

With many of these uncertainties now somewhat dispelled, the stock market performance of major European listed fashion companies has been more than positive. This was evident at the opening of Wednesday's trading session. Following the confirmation of the two-week ceasefire between the US and Iran, based on negotiations for a long-term Peace Agreement and the opening of the Strait of Hormuz, the shares of major fashion companies soared. They recorded revaluations ranging from +2.71 to +8.22 percent.

At the two ends of this range, at the market open this morning, were the British group Burberry (+8.22 percent) at the top and the Swedish fashion multinational H&M Group (+2.71 percent) at the bottom. From there, the companies evolved differently. Burberry's shares lost some momentum, currently trading at 1,143 pence compared to Tuesday's close of 1,069.80 (+6.84 percent). H&M's shares gained strength, trading at 176.75 Swedish kronor compared to the last session's close of 171.25 (+3.21 percent).

As for other updates, shares of the French multinational holding company LVMH are currently trading at 500.70 euros (+7.25 percent); Kering's at 275 euros (+6.69 percent); and Hermès' at 1,781 euros (+8 percent). Regarding the two major Spanish listed companies, shares of Inditex, owner of Zara and other chains like Bershka, Stradivarius and Massimo Dutti, are currently trading at 53.18 euros (+5.97 percent). Puig, which is currently in negotiations for a potential merger with the US company The Estée Lauder Companies, has its shares trading at 17.70 euros per share (+3.14 percent).

Interview

When Stephen Belfer was appointed as VP, global sales and business development for Joseph Ribkoff in November 2025, he didn’t think that just weeks later he would actually be taking up the helm of the Canadian heritage label. “I guess somebody had a different plan for me,” he joked in a conversation with FashionUnited.

Now serving as president and chief executive officer, Belfer has been tasked with leading the strategic relaunch of Joseph Ribkoff, bringing the brand and its relatively quiet persona into a new era. Despite a lowkey presence, the almost 70-year-old label has maintained a consistent level of success, selling across 62 countries, 42 showrooms, and over 3,500 retail partners. “Yet nobody has really told the brand’s story,” Belfer acknowledged.

New e-commerce platform to tell the Joseph Ribkoff story for the first time

To counter this, the debut of an e-commerce platform sits at the heart of relaunch efforts, moving Joseph Ribkoff beyond its largely offline presence. While the digital platform will of course serve primarily as a sales channel, Belfer also sees the site, and associated social media, as a means to expand on the brand’s universe, making its story more accessible to a wider audience. “This gives us the platform to tell the whole world who we are and what we want to show them. That’s the basis of it,” Belfer said.

The executive’s past experience makes him well-suited to leading a globally-minded strategy. Having grown up in the fashion industry within his father’s apparel distribution business, Belfer went on to oversee the Canadian operations of Marc Cain. Over 11 years, he worked on building the German label’s regional presence from scratch, establishing its wholesale, franchise and legal infrastructure, as well as North American e-commerce.

For Belfer, the biggest takeaway from this period was understanding global market disparities, something he deems imperative when introducing a brand to new regions. The key to success, he believes, is adapting to the intricacies of each market. “You have to take into account different politics, different languages in Canada, and regional differences like the West Coast, where there’s a large Asian population. North America is very different from some European countries, and also very diverse within itself,” he noted.

Travel retail and international growth on the radar

When it comes to approaching international markets, Belfer is focused on intentionally building brand awareness. Press days in Europe–specifically in Paris, London, and Amsterdam–and the US, in New York, are part of these efforts. “We’re revamping the brand and letting people really see who we are. When you ask people about Joseph Ribkoff, they recognise the name but don’t know where it is from. We want people to be proud of it, and proud of who we are,” Belfer added.

A similar mindset is being adopted in brick-and-mortar retail, led by Nadine Clour, who took over as VP of global sales and business development. The emphasis so far has been on travel retail. After a strong response to Joseph Ribkoff’s pop-up style store in Cairns Airport, Australia, the brand opened a second location in Auckland Airport, New Zealand, last month. The site, the brand’s first permanent store, is already drawing in “incredible” results, Belfer said.

To align more closely with the travel retail expansion, Joseph Ribkoff has expanded into sportswear, where a “tremendous appetite” has been observed. While dresses remain core to the brand offering, this more relaxed collection caters to travelling customers seeking comfortable clothing for flights and casual days. Belfer also sees potential in denim and knitwear, alongside materials like cashmere blends.

Cross-generational collection modernisation

The modernisation of collections will not come at the price of long-loyal customers, however. Belfer intends to stay rooted in the premium segment, though notes that an increased digital presence will likely draw in a different consumer. “We don’t want to lose the DNA of who we are, but we do want to appeal across generations: grandmother, mother, and daughter,” he noted. “Our designs and fit are what we’re known for. If we can bring that fit and modernise the collection slightly, we can open it up to a much bigger customer base.”

The brand’s upcoming capsule collection, ‘Edit 57: Icons Capsule’, will be a reflection of this shift. Named as a reference to Joseph Ribkoff’s founding year, 1957, the edited line is due to roll out early autumn. From Belfer’s perspective, the collection “gives us a nice opportunity to test the strategy”, providing a visualisation of the slightly new direction the brand will be taking.

This emphasis on ‘product’ remains throughout Joseph Ribkoff’s relaunch. Despite facing a volatile market, Belfer is confident that a consistency in product is critical to the brand’s future, expressing pride over its fit and inclusive sizing, specifically. “There’s always political uncertainty—tariffs, fuel surcharges, global issues. That’s part of business. The key is how you adapt. If your product is strong, people will continue to support you,” he stated.

The product will naturally sit centre stage in physical retail spaces, including its upcoming Rentham store in Massachusetts, which will become Joseph Ribkoff’s first outlet. Further retail locations across both travel and traditional formats are expected to continue rolling out over the next two years. “It’s very important to have an omnichannel approach—wholesale, e-commerce, retail, and outlet—because it gives you a full picture of the business and the economy,” Belfer said.

Building team loyalty sits at the heart of leadership

Balancing this plethora of channels, some entirely new, will require a solid team to ensure long-term success, which Belfer is confident he has. “The most important thing is the people you surround yourself with,” he said, when asked about his leadership style. “You can have a strategic vision, but it’s hard if you don’t have the right people to implement it. You have to trust people, believe they are loyal to the brand, and empower them to do their jobs. We have a great executive team, who I encourage to develop themselves as leaders. That builds loyalty and respect. I grew up in a family business, and that’s how I like to treat it here.”

Belfer is also not limiting the team to rigid targets. Instead, while transitioning away from a business wholly reliant on wholesale, he views the strategy as a jigsaw puzzle that needs the right pieces in order to fit. “When you launch an e-commerce site, in the first year it should typically serve as a smaller retail store, and in the second and third years it becomes the biggest retail store you have,” he said. “At this stage, we’re putting the right strategies in place. We have a strategic vision going forward, and over the next 24 months, you’ll see something pretty incredible from the brand.”

Fashion Trust U.S. (FTUS), the non-profit organisation founded by Tania Fares to provide business and financial support to US-based designers, hosted its fourth annual awards in Los Angeles on Tuesday night (April 7), celebrating emerging designers and honouring Tory Burch and Michèle Lamy.

Hosted by American actress and comedian Ego Nwodim, the award ceremony featured a performance by Lykke Li and celebrated designers across ready-to-wear, jewellery, accessories, graduate, and sustainability categories, alongside a design initiative created with Type One Ventures.

New York-based fashion designer Zane Li of label LII, who studied at the Fashion Institute of Technology and graduated in 2023 and made his official NYFW catwalk debut in September 2025, was awarded the ready-to-wear accolade.

The accessories award went to Andrea Marron, a Miami-based designer who specialises in sculptural, handcrafted handbags, while the jewellery award was presented to Josefina Baillères, a Mexican fine jewellery designer, who describes her approach to her craft as "jewelgineering," a term she coined to reflect her blend of technical engineering with artistic sentiment.

The awards also spotlighted Parsons School of Design at The New School graduate Marcelle Barbosa, a New York-based designer and founder of the sustainable luxury label Amaramara, who received the graduate award.

The Sustainability Award, which considered all 16 finalists from the ready-to-wear, jewellery, accessories and graduate categories, went to Maxwell Osborne and Kristy Chen of AnOnlyChild. The New York-based luxury label focuses on upcycled design, using deadstock and vintage fabrics to create one-of-a-kind pieces. Each of the emerging designer winners will receive a grant and ongoing mentorship through Fashion Trust U.S. and Google.

The ceremony also honoured Tory Burch as designer of the year, recognising her role “in defining modern American fashion on a global scale” as well as her commitment to supporting women business owners, while Michèle Lamy was presented with the lifetime achievement award for her “enduring impact on the creative landscape”.

There was also a special innovation prize created in partnership with Type One Ventures, known for investing in space, artificial intelligence, and deep technology, and Lanvin Group, which focused on a competition designed to bridge fashion with frontier innovation. The future form prize was awarded to Deborah Won of Pisces Rising, and her proposal, centred on the theme ‘Space, Reimagined,’ will receive support in developing the concept from design to manufacturing, to bring the idea to a final product.

Persol turns to the Riviera as both setting and muse: a place where natural splendor meets a refined yet genuine way of life, and where luxury is measured in time well spent and in the quiet precision of every detail. The campaign unfolds at an unhurried pace, shaped by sunlight, sea air, and moments of stillness, where past and present blend effortlessly. Among sunlit palazzos overlooking the water and landscapes untouched by time, the Riviera becomes a reflection of Persol's vision: an essential elegance grounded in Italian craftsmanship and expressed through a contemporary, deeply personal sophistication.

PO8001S

Persol's commitment to craftsmanship is fully expressed in these acetate sunglasses, where heritage and innovation come together in effortless harmony. The iconic metal Freccia Supreme connects the rectangular front to temples with a newly conceived design, inspired by the fluid motion of waves. A custom hinge bolt engraved with the signature "P" transforms a functional element into a subtle yet distinctive hallmark, adding depth and character to a look that is both sophisticated and impactful.

PO8002S

Classic lines and a modern sensibility come together in these rectangular acetate frames. The contemporary front is enhanced by wave-inspired temples, finished with the iconic metal Freccia Supreme. A signature hinge bolt engraved with the "P" completes the design, elevating the metal hardware and capturing the perfect balance of refinement and functionality.

PO8003V

A true expression of Italian mastery, this panthos frame blends a contemporary silhouette with a distinctly vintage soul. The keyhole bridge adds character and effortless elegance, while sculpted temples shaped around the Meflecto system and inspired by the motion of waves bring a sense of dynamism. The iconic Freccia Supreme and the hinge bolt engraved with the signature "P" turn functional elements into defining details, reflecting an aesthetic that is refined, authentic, and unmistakably Persol.

This collection is conceived as a series of impressions of places, moods, and sensations transformed into design, volume, and carefully crafted details. Each style offers a unique expression of craftsmanship and beauty, brought to life through balance, fluidity, and a refined aesthetic sensibility.

Within this narrative, the brand's more experimental spirit comes to the forefront through three key styles, PO8001S, PO8002S, and PO8003V, introducing new design codes. Signature technical elements, including a newly developed bolt engraved with the iconic "P," an enhanced fit, and a reimagined temple design, lend the frames a distinctive, statement-making edge. The project brings together constructional precision and expressive design, resulting in eyewear that is confident and characterful, yet meticulously refined.

Alongside this bolder, future-facing vision, the collection expands with designs that move between contemporary dynamism, architectural lightness, and luminous refinement. Balanced volumes, geometric shapes, and soft, streamlined silhouettes come to life in acetate and metal frames, finished in a palette inspired by Mediterranean light. The result is a lineup created for everyday sophistication-with real personality. A seamless balance of heritage and modernity, each style delivers a distinctive, timeless appeal.

Serving as a bridge between the different worlds of the collection is the Freccia Supreme, an unmistakable signature detail that elevates shapes and materials, making each frame instantly recognizable. This collection is an invitation to experience luxury with ease: to rediscover the value of time, and to see the world through the enduring class of Italian tradition.

PO3391S GAE

A contemporary reinterpretation of an eyewear icon and a true statement of style, Gae is an acetate design defined by its confident, squared silhouette. The slim profile is elevated by a keyhole bridge that lends the frame a subtle, sculptural presence. Slender temples, finished with the iconic Freccia Supreme and the signature Meflecto system, enhance the design with refined detail and comfort. A curated palette of sophisticated hues, paired with Barberini® Premium crystal lenses, embodies the seamless fusion of timeless heritage and modern sensibility.

PO3393S GUIDO

Bold and self-assured, Guido brings a fresh perspective to Persol's heritage. The squared pilot-shaped acetate frame is defined by a double bridge that evokes a timeless, effortless elegance. Slim acetate temples, detailed with the iconic Freccia Supreme and the signature Meflecto system, lend a contemporary finish while ensuring an ideal balance of comfort and style.

PO1028S

A masterful interplay of contrasts, these metal sunglasses feature a softly contoured silhouette with a subtly squared profile. The slim bridge accentuates the front with understated precision, while the newly designed Freccia Supreme flows seamlessly into the high-quality acetate temples, reimagining a historic Persol icon through a contemporary lens. Barberini® Premium crystal lenses, available in a selection of vibrant tones, complete the style with depth and luminosity.

PO1030V LUC

An ethereal take on contemporary eyewear, Luc is defined by a refined three-piece construction and clean, delicately contoured rectangular lines. Slim metal temples flow seamlessly into acetate end tips, reflecting Persol's craftsmanship and expertise in material innovation. The iconic Freccia Supreme embraces the lenses, creating a sense of visual continuity and architectural precision that elevates the entire design.

The Critical Materials Innovation Hub (CMI), an initiative led by the US Department of Energy (DOE) Ames National Laboratory, has entered into a new collaboration with online giant Amazon to help advance solutions that drive material circularity, especially the recovery and recycling of key materials such as battery-grade graphite.

Through the new partnership, Amazon will leverage its artificial intelligence capabilities and supply chain scale with the expertise of DOE’s Ames National Laboratory and CMI Hub to further reduce waste, enhance local supply chains, and create new avenues for the recovery of valuable materials.

“At scale, the recovery of critical minerals from end-of-life technologies and textile waste has the potential to transform our domestic critical materials supply chains,” said Audrey Robertson, assistant secretary of Energy (EERE), who leads DOE's Office of Critical Materials and Energy Innovation, in a statement. “This pioneering work, made possible by an exciting new partnership with Amazon, supports the Trump Administration’s efforts to reduce our reliance on foreign imports and strengthen our national security.”

The new initiative sees CMI researchers collaborating with Amazon teams to explore various production methods for battery-grade graphite from post-consumer textiles, such as unwanted clothing, in line with the DOE's Genesis Mission goal of recovering valuable materials from waste streams.

"This is an excellent match for Ames National Laboratory's deep expertise in materials science," said Karl Mueller, Ames Laboratory Director. "For decades, Ames Lab has led the nation in metals refining, purification, and critical materials research—and applying that strength to real-world challenges."

In addition, CMI will also work closely with Amazon Web Services (AWS) teams to assess the technical and financial viability of extracting critical minerals, including gallium, from decommissioned IT equipment. AWS will apply its AI and supply chain capabilities to CMI's mineral recovery expertise and partner ecosystem. The announcement comes not long after Amazon announced it plans to invest close to 200 billion US dollars this year alone in AI, chips, robotics, and satellites as it cut a total of 30,000 office roles over the last 6 months, citing the transformation driven by AI.

"This collaboration is a natural extension of the expertise that CMI Hub was created to deliver," said Tom Lograsso, CMI Hub Director. "CMI's mission is to move breakthrough materials technologies from the laboratory into real-world applications on timelines that meet industry's needs. Working with Amazon gives us the opportunity to apply our capabilities at scale—combining CMI's materials science expertise with Amazon's AI to turn innovations into practical solutions that strengthen the nation's critical materials supply chains."

"We are excited to bring the full depth and breadth of Amazon AI — including Amazon Nova — and our science capabilities to this collaboration,” added Kommy Weldemariam, chief scientist for sustainability and AI at Amazon. “This is one example of how Amazon is helping build a more sustainable and resilient domestic supply chain.”

The new collaboration announcement comes as the Trump administration's energy policies shift away from renewables and towards fossil fuels, while supporting the development of domestic supply chains for critical materials. For example, President Trump's day-one Executive Order called for federal backing of critical mineral projects. By August 2025, the DOE had committed nearly 1 billion US dollars to the cause, over half directed at battery material processing, manufacturing, and recycling.

London fashion brand Whistles has announced two new senior appointments, a new design director and commercial director, to support the retailer’s ambition to drive long-term, sustained growth.

James Blacklock joins as commercial director, a newly created role designed to accelerate Whistles’ commercial momentum, while Mo Riach has been appointed design director, another new role, to shape "the next era of Whistles’ product design".

In a statement, Whistles said that Blacklock brings “extensive experience in product and commercial strategy” to the company, as he has held senior roles at Boohoo and M&Co, and will be “instrumental in delivering the brand’s drive for sustained growth”. He reports to Sally Ambrose, chief product officer at TFG London, the fashion and lifestyle retail group, which also includes Hobbs and Phase Eight.

Riach, who was previously head of design at Topshop, has been brought on as a design director and tasked with sharpening the brand’s design point of view to ensure every collection “feels distinctly, unmistakably Whistles”.

Commenting on the appointments, Ambrose said: “James and Mo join us at an exciting moment for Whistles. Their combined experience in commercial strategy and design leadership is exactly what we need to deliver the next phase for the brand.

“Together they will bring the commercial sharpness and design vision to take the brand further and faster. We're thrilled to have them on board."

Whistles has 36 standalone stores and 70 concessions, operating alongside Whistles.com and the brand's 11 online concession partners. The brand is also available at leading department stores in the UK, including Selfridges, John Lewis and M&S, and premium global stores internationally, such as Bloomingdale's, Nordstrom, Macy’s, De Bijenkorf and Brown Thomas.

The King’s Foundation, a charity founded by King Charles III, has announced a three-year partnership with luxury jewellery house Cartier to form a new education programme to teach the next generation of specialist artisans for the watchmaking industry.

In a statement, The King’s Foundation said the move with Cartier was born of a “shared belief in the importance of preserving rare artistry crafts and supporting the next generation of talent,” and continues both organisations’ long tradition of promoting and supporting creative talent.

The King’s Foundation and Cartier: Decorative Métiers d’Art in Watchmaking bursary supports a new seven-month postgraduate programme. The curriculum consists of five months of formal training followed by two months of project-based work, with a specific focus on specialised techniques such as champlevé, grisaille and marquetry.

Jacqueline Farrell, executive director of education at The King’s Foundation, said: “At The King’s Foundation, we are passionate about protecting traditional crafts and we are delighted to be partnering with Cartier, who share this passion, on this exciting new education programme.

“This course will give students a rare opportunity to learn the highly specialised skills involved in the decorative arts for watchmaking. By nurturing the next generation of makers in two extraordinary settings in Scotland and Switzerland, we hope to ensure that these remarkable skills are preserved and developed for years to come.”

The King’s Foundation creates a new fellowship with Cartier to promote the skill and craftsmanship of decorative watchmaking

The fellowship is open to UK-based jewellery and watchmaking graduates or emerging designers in the first three years of running their business in the decorative arts, metalwork or jewellery sector who wish to add to their technical expertise.

The programme emphasises material exploration and professional skill development. Key components include workshops on enamel processes, as well as creative sessions in specialised techniques such as wood and straw marquetry. Participants will also refine their expertise through expert-led demonstrations and visits, practical application, and direct mentoring from industry leaders and master craftspeople from both organisations.

Successful applicants will receive a monthly bursary of 1,500 pounds to assist with living expenses, and all tuition fees, material costs, and travel to Cartier premises in Switzerland will also be covered.

Applications will open on 27 April via The King’s Foundation website. The inaugural cohorts are scheduled to undertake their studies from September 2026 to April 2027, culminating in a final project exhibition in Spring 2027.

The programme will take place at The King’s Foundation’s headquarters, Dumfries House in Ayrshire, Scotland, with residential experiences delivered at Cartier’s Maison des Métiers d’Art in Switzerland.

Louis Ferla, president and chief executive of Cartier, added: “We are delighted to partner with The King’s Foundation on this important new fellowship programme. Support for creative talents in watchmaking and the métiers d’art is crucial to ensure these ancestral skills are transmitted to the next generation, where they can continue to share their singular beauty.

“This commitment reaffirms the Maison’s longstanding dedication to the shared human adventure of preserving, developing and, of course, celebrating these rare and traditional crafts.”

Legendary writer and cultural critic Fran Lebowitz makes her return to Harper's Bazaar to discuss 'Then and Now,' offering her signature witty commentary on the current state of the world. She weighs in on everything from fashion, literature, and politics to technology. Expect her to sound off on why men still lack style, the satisfaction of revenge, the issue of children in restaurants after 9 p.m., modern attention spans (or the scarcity of them), the complacency of tech billionaires, and the crucial necessity of maintaining one's anger.

Nordstrom is expanding its presence in California by opening not one, but two local service hubs. 

Opening in San Diego and Danville, the smaller, service-focused retail units are in line with the Seattle-based department store group’s wider strategy of moving away from traditional retail to more experimental and online-driven models.

Set to open this summer, the first to open will be the 1,190 square foot service hub at 3725 Paseo Place, Carmel Valley (Local One Paseo), which will open on June 4. The latter, measuring 1,214 square feet, is located at 600 Sycamore Valley Road (Local Danville) and will open on June 18. 

The opening of the second local service hub in Danville comes after Nordstrom shut down its flagship store in 2023, amidst a broader exit of retailers from the downtown area. In October 2025, Nordstrom opened a local service hub on Fillmore Street.

"We're excited to bring these new Nordstrom Local service hubs to San Diego and Danville, expanding our commitment to serving customers across California," said Fanya Chandler, president of Nordstrom stores, in a statement. 

"Northern and Southern California represent two of our most significant markets, and these new locations reflect our continued focus on evolving alongside our customers. By extending our presence closer to where our customers live and work, we believe Nordstrom Locals will offer greater convenience, broader access to what they need, and a more personalized experience."

Nordstrom’s smaller local sites are designed to appeal to customers who prefer online shopping but still want in-person support. The service hubs are retail locations where customers can collect online orders, make returns, access alteration services on goods purchased from Nordstrom and Nordstrom Rack, as well as other retailers, and donate used apparel and shoes to be reused or recycled. The local service locations do not have a retail offering from Nordstrom. 

Once opened, the Nordstrom Local One Paseo and Nordstrom Local Danville will be the fifth and sixth Nordstrom service hubs operating in the state of California, joining locations in Brentwood, Newport Beach, Manhattan Beach, and Fillmore.

Designer Silvia Tcherassi and Istituto Marangoni Miami (IMM) have announced the second installation of the "Silvia Tcherassi Scholarship," expanding the program's scope to accept applicants from all Latin American countries. The initial scholarship launch in 2024 had been restricted to students in Colombia.

The partnership aims to foster emerging talent in the region’s fashion industry by providing young designers with educational development and real-life mentoring opportunities.

The annual scholarship will award four prizes to Latin American designers: One full scholarship for a one-year intensive course in Fashion Design at Istituto Marangoni Miami, as well as three partial scholarships covering 50 percent of the tuition for any IMM program, including Fashion Business, Fashion Design, Fashion Styling, or Interior Design.

The recipient of the full scholarship will also participate in a structured, four-checkpoint mentorship program throughout the year with Silvia Tcherassi and key members of her team. These sessions will focus on the winner’s professional and creative development, covering key areas of the fashion business from design and production to sales and marketing.

Silvia Tcherassi emphasized the importance of formal education and experience in a press release. "It is more important than ever to have proper training and preparation to succeed in the creative industries," Tcherassi stated, adding that the scholarship is a "meaningful step in that direction". She noted that the goal is for winners to "experience the real workings of a brand, which will complement their education and motivate them to create their own label and business".

Hakan Baykam, CEO and President of Istituto Marangoni Miami, highlighted the collaboration's significance, stating that it "reaffirm[s] IMM’s role as the premier gateway for Latin American excellence in fashion design". He added that by nurturing these designers, the school is "cultivating a cross-cultural dialogue that enriches the design landscape of both regions while investing in future talent".

Application details

The call for applications is open to Latin American students aspiring to work in the fashion industry. Candidates are required to submit a four-piece capsule collection, a 500-word personal statement in English explaining the collection’s concept, and both inspiration and mood boards. Tcherassi noted that the program is seeking "young creatives who offer more than passion or instinct for design," looking specifically for candidates who can develop unique proposals and effectively communicate them.

The selection process involves a rigorous evaluation by a jury composed of Silvia Tcherassi and esteemed faculty members from IMM. The panel will carefully assess each applicant’s portfolio, creativity, and personal vision.

French driver Pierre Gasly joins Lacoste as an ambassador, embodying its iconic polo. Passionate about tennis and golf, he represents the intersection of sport, style, and culture.

Born in Rouen in 1996, he began karting at six and rose quickly through motorsport, making his Formula 1 debut in 2017. He became the youngest French driver to reach a podium at the Brazilian Grand Prix in 2019, and won the Italian Grand Prix in Monza in 2020—the first French victory in F1 since 1996.

Beyond racing, Gasly stands out for his interest in style and culture, reflecting a new generation of athletes aligned with Lacoste’s DNA.

Pierre Gasly becomes the face of the iconic Lacoste polo—originally created by René Lacoste to bring freedom of movement and elegance to tennis. Now a timeless wardrobe staple, it embodies the brand’s signature blend of sport and style.

With Gasly, Lacoste continues its strong connection to sport while reinforcing its global presence alongside a French figure whose journey and natural elegance reflect the Maison’s values. This partnership marks the start of a collaboration set to expand through upcoming projects.

“Pierre Gasly perfectly reflects the performance and tenacity that have driven Lacoste since its founding. His international career, high standards, and connection to sports like tennis and golf align naturally with our world. We are delighted to welcome him as an ambassador and begin this new chapter together,” said Eric Vallat.

“Lacoste is an iconic French Maison that has transformed its sporting heritage into a modern vision of style. The polo is its purest expression—born on the tennis court and now a symbol of effortless elegance. I’m very happy to be one of its faces and look forward to bringing this partnership to life,” added Gasly.

Valentino is strengthening its management team. Antonio Achille will become the new chief operating and transformation officer, effective April 8.

According to a statement, the appointment is part of the Mayhoola-controlled brand's wider organisational evolution. The goal is to consolidate operational efficiency, innovation and international development.

In his new role, the University of British Columbia graduate will report directly to CEO Riccardo Bellini, who has been chief executive officer of the maison since September 1, 2025. Achille will be responsible for overseeing all industrial divisions and the digital and technology function.

In addition to operational management, Achille, who also holds a Master's in Business Administration from Bocconi University in Milan, will lead the company's transformation programme. This will focus on processes, innovation, technological evolution and supporting the brand's long-term growth.

Prior to this appointment, the manager held the role of senior vice president of business development, strategy, innovation and new business at Chalhoub Group in the United Arab Emirates. Previously, he was chief executive officer of Natuzzi, senior partner at McKinsey and global head of luxury at The Boston Consulting Group.

The United States Department of Health and Human Services (HHS), a federal government department focused on protecting the health of Americans and providing essential human services, has launched a 144 million US dollar programme to investigate how microplastics build up within the human body and look for ways to protect people against their potential health impact.

The Advanced Research Projects Agency for Health (ARPA-H), an agency within HHS, dubbed the initiative the Systematic Targeting Of MicroPlastics, or STOMP, and said the nationwide programme would create a framework for measuring, researching, and affordably removing microplastics and nanoplastics (MNPs) in the human body.

“HHS is taking decisive action to confront microplastics as a growing threat to human health,” said HHS Secretary Robert F. Kennedy, Jr in a statement. “Americans deserve clear answers about how microplastics in their bodies affect their health. Through ARPA-H’s STOMP programme, we will measure microplastic exposure, identify sources of risk, and develop targeted solutions to reduce it.”

Microplastics, which are often invisible to the naked eye, come from a wide range of everyday products and industrial processes, including personal care products and synthetic textiles, and have been detected in lungs, arterial plaques, and brains, through food, air and water. Animal case studies have also shown that microplastics cause disease, while human studies have shown a high correlation.

ARPA-H added: “Yet to date, we are still remarkably in the dark. We don’t have a precise way to measure microplastics in our organs, nor do we understand which ones are affecting us in what ways, because each plastic works differently.

“This is important: We can’t clear what we can’t measure, and we can’t develop interventions that are precise, safe, and effective for impacts we don’t understand.”

The STOMP programme, led by Drs Ileana Hancu and Shannon Greene, has been tasked with creating tools that will be affordable and accessible to reach the masses and help lower the downstream costs of treating and preventing microplastic-related disease.

Alicia Jackson, director of ARPA-H, said: “Microplastics are in every organ we look at, in ourselves and in our children. But we don’t know which ones are harmful or how to remove them.

“Nobody wants unknown particles accumulating in their body. The field is working in the dark. STOMP is turning on the lights.”

The programme’s three technical focus areas will be split into two phases: first, measurement and mechanism, and second, removal. During phase one, STOMP will design experiments to understand microplastics within the human body, including a clinical test that will quantify individual microplastic burden, to make monitoring and intervention possible at scale.

Art Academy of Latvia will host its annual LMA Fashion Show on 29 May, bringing together emerging designers under the overarching theme “Definition,” which also connects the institution’s Design Days and Graduate Days events.

The show, taking place at Hanzas Perons, marks the 33rd edition and will explore how fashion, art and design define their role in a changing cultural landscape. The event aims to provide a platform for young designers to present collections that combine craftsmanship, material experimentation and digital approaches.

An international guest lecturer programme featuring designers from Poland, Estonia and France will accompany the show. In addition, sustainability partner AJ Power Recycling will present a circularity-focused award recognising innovative material use, with the winner receiving the opportunity to attend the International Festival of Fashion, Photography and Accessories in Hyères.

The LMA Fashion Show forms part of a wider programme of exhibitions, lectures and graduate presentations running throughout June, highlighting student work across art and design disciplines.

Madrid – Since confirming on March 24 that they were in negotiations for a potential merger of their respective businesses, Puig and The Estée Lauder Companies have not provided any new official information. The only exception was a statement in which the Spanish company updated its financial calendar at the end of that week. This has not prevented information about the potential merger from being leaked since then, with varying degrees of bias and reliability. It is suggested that a definitive agreement could be announced “in the coming weeks”.

Financial publication Bloomberg provided an update on April 1, citing anonymous sources “close” to both companies. The update concerned the current progress of the merger negotiations between Puig and The Estée Lauder, suggesting that the agreement could be “formally announced in the coming weeks”. This speculation was qualified by a warning that the groups have not yet reached any definitive agreement. Therefore, negotiations for their potential merger remain open, with the possibility that they may not ultimately reach an understanding. It was also noted that Puig has made it an essential requirement for the family to have a significant presence on the board of directors of the post-merger company.

Building on this information, financial publication Expansión reported earlier this week that representatives of the Puig family had travelled to New York. Their aim is to accelerate negotiations for the potential merger of the Spanish group with its US counterpart. It is presumed that Marc Puig is leading the Spanish company's delegation. He stepped down as chief executive officer in early March to exclusively assume the role of executive chairman of the board of directors. The specific objective was to remain, and we quote, “focused on the company's mergers and acquisitions strategy”.

This particular mention cannot be separated from the announcement confirming negotiations with The Estée Lauder, which came just one week after the internal restructuring. It could now be followed by Marc Puig joining the board of directors of The Estée Lauder Companies. This appointment would fulfil the “essential requirement” demanded by the Puig family to approve the deal. However, sources accessed by Expansión indicate that the Puigs are demanding not one, but two seats on The Estée Lauder's board of directors. These seats would be occupied by Marc Puig Guasch, chairman of Puig's board since 2007, and Manuel Puig Rocha, his cousin and vice chairman of Puig's board, also since 2007.

A 50 billion dollar beauty giant

Despite the ongoing doubts about the execution and integration of the deal, which has affected the share prices of Puig and The Estée Lauder differently from the outset, it is already assumed that if the merger goes ahead, it will involve the integration of Puig into The Estée Lauder. It is also ruled out that the group will adopt a new name. This will lead to the de facto disappearance of Puig as an independent company and a benchmark in the luxury fashion and beauty sector. This would be a definitive farewell to its 112-year history. Nevertheless, the family members would try to keep its legacy alive, both from their positions on the board and by leveraging their weight in the shareholding of the “new” The Estée Lauder Companies.

While there is no concrete information on the negotiations, which we reiterate are still open, US investment bank and broker Jefferies has offered its estimates. These estimates cover how the deal is expected to be finalised and how the share capital of the “new” The Estée Lauder Companies might be distributed following the integration of Puig's business. In general terms, the deal would create a beauty giant with a total value of around 50 billion dollars. For the 2027 financial year, the US investment bank projects sales of around 22 billion dollars. It also forecasts an adjusted operating profit margin (EBITDA) of over 20 percent of revenue, following estimated savings of 375 million dollars in general and administrative expenses due to cost synergies between the two groups. These general indicators do not deviate significantly from those already estimated by FashionUnited.

Regarding the unresolved financial terms for Puig's integration into The Estée Lauder, a report from Jefferies on Monday, April 6, 2026, sent to clients and institutional investors, suggests a 30 percent premium on Puig's share price before the merger negotiations were announced. This report was echoed by media outlets such as Europa Press and Cinco Días. This amount would be paid to the shareholders of the Spanish fashion and beauty multinational through a mixed public tender offer. The payment would consist of 20 percent in cash and the remaining 80 percent in shares of the “new” The Estée Lauder Companies resulting from the merger. Under this scenario, the Lauder family would retain 26.7 percent of the company's capital; the Puig family 21.7 percent; current The Estée Lauder shareholders 43.6 percent; and Puig's minority shareholders the remaining 8 percent. It should be noted, however, that the investment bank does not estimate the “real weight” that the members of each family would have after the merger. Both families have always sought to maintain control over their respective groups. The Lauder family holds 84 percent of the voting rights despite owning less than 34 percent of the shares. The Puig family holds 92.96 percent of the Spanish company's voting rights, while retaining 71.7 percent of its share capital after the company's IPO.

A “dual listing” for the “new” The Estée Lauder

In addition to the distribution of board seats, the price of the deal, and the final question of the “real weight” the Puig family would have in the “new” The Estée Lauder, all sources consulted agree on another requirement. It has been stipulated that the post-merger company must have a dual listing. A “dual listing” would allow its shares to be traded simultaneously and in real time on both the New York Stock Exchange, where The Estée Lauder Companies is already listed, and the Madrid Stock Exchange, where Puig is listed.

In this regard, the financial publication Expansión reports that the Puig family is demanding that the shares of the post-integration company be listed in Madrid as well as New York. This would be under the same The Estée Lauder Companies “brand”. This demand is a clear attempt by the Puig family to maintain some effective control over the potential new group. They are trying to avoid being completely absorbed by the US group, especially since it is assumed that the “centre of power” of the resulting company will remain at The Estée Lauder's corporate headquarters in New York.

American athleticwear brand Champion, part of the Authentic Brands Group portfolio, has unveiled a collaboration with UK streetwear brand Aries, centred around boxing.

The capsule collection is rooted in the “raw physicality and spirit of boxing,” explains Champion, and sees the London-based Aries reworking the brand’s classic Reverse Weave, using deadstock jerseys that have been aged and printed with graphics created by Aries, utilising imagery from Aries’ archive as well as new collaborative graphics.

The 10-piece collection of unisex styles launches on April 9, and is offered in a colour palette of black, grey, navy and red.

Sofia Prantera, founder and creative director of Aries, said in a statement: “I’ve always loved vintage Champion as it carries a real sense of authenticity.

“This collaboration was about pushing that heritage into something more confrontational. Boxing and MMA felt like a natural influence with the energy and the physicality, channelled into the clothes.”

To launch the boxing-inspired collection, Champion and Aries tapped professional British boxers Harlem Eubank and Tiah Mai Ayton to front the campaign shot by Douglas Irvine.

The Aries x Champion collection will retail for 79 to 175 pounds. It will be sold at the Aries flagship in London, via its website, as well as at the Champion flagship stores in Soho, London, and Manchester Arndale in the UK, and online through select wholesale partners globally. Aries x Champion collection

British cycling apparel brand Rapha has appointed Scott Mellin, former Salomon global chief brand officer, to its board of directors.

Mellin, who has more than three decades of brand-building, product innovation, and cultural marketing expertise from brands within the outdoor and performance sport sector, including The North Face and Salomon, has been added to the board for his experience shaping brand identity across material innovation, sustainability, cultural marketing, and luxury positioning.

As global chief brand officer at Salomon, Mellin was responsible for driving the vision, transformation and modernisation of the legacy French mountain sports brand. He added 1 billion US dollars in net revenue and doubled brand awareness in his three years with the business. Mellin was also credited with driving exponential growth during his time as global general manager of The North Face, where he relaunched the brand’s footwear category and led its sustainability programming, shifting recycled product content from 7 percent to over 70 percent.

In a statement, Rapha said that Mellin was a “natural fit” for the board as the company looks to its next phase, as it continues to expand its global community of riders and Rapha Cycling Club (RCC) members, deepen its presence in competitive cycling, and extend its position “at the intersection of sport and culture”.

Fran Millar, chief executive of Rapha, said: “Scott has a track record of pushing brands to find new cultural relevance whilst deepening authenticity and a sense of heritage. That insight will be invaluable as we grow Rapha’s reach without compromising what makes this brand extraordinary. In addition, his credentials in driving product strategy and textile innovation will help sharpen our product pipeline.

“Rapha has always looked beyond the sport, and my experience has taught me what you gain from people at the top of their game in different industries. Scott brings not only a wealth of experience but fresh eyes and a new perspective. We are delighted he’s joining us.”

The London-based cycling brand has been expanding its global presence since Millar joined the business in September 2024, including adding a major partnership with USA Cycling, announced last year, which will see Rapha kit out the US Olympic and Paralympic cycling teams at Los Angeles 2028.

Commenting on joining the board, Mellin added: “Rapha is in a period of transformation, increasingly confident and starting to innovate at speed. I hope to act as a kind of catalyst for those changes, so that the next few years completely reinvent what it feels like to wear Rapha. I am honoured to be joining the brand in this new era.”

Sportswear giant Nike is facing a class action lawsuit over its alleged failure to secure consumer information amid a data breach on January 21, 2026.

The suit, filed with an Oregon federal court and reported on by WWD, was brought by complainant Maria Gomez who claimed that the company did not safeguard shopper details stored in its network, including billing addresses, phone numbers, and transaction data.

Nike is also accused of neglecting to notify shoppers to the breach in a timely manner, with those impacted said to have been informed over a month after the incident occurred on February 25.

As a result, Gomez is pursuing a nationwide class action against Nike, and is calling on other individuals affected by the breach to participate.

Lawyers for the complainant said that class action members were “wholly unaware” of the data breach until Nike’s notification was issued. The company is also alleged to have recklessly and negligently failed to take reasonable steps to protect data.

Gomez is seeking a trial by jury, declaratory and injunctive relief, and an award of punitive damages for both herself and other signatories.

In January, Nike was among an increasing number of fashion brands facing cyber attacks; its own initiated by a ransomware group World Leaks that claimed to have leaked data related to the business and its customers.

At the time, Nike said it took “consumer privacy and data security very seriously”, adding that it was “investigating a potential cyber security incident”.

FashionUnited has contacted Nike with a request to comment on the class action.

US-based luxury label Vera Wang has named Stephan Schuster as its new commercial director for the UK and Europe. Schuster, who announced the appointment via the professional networking platform LinkedIn, will be tasked with establishing and driving the brand’s business across both e-commerce and wholesale channels within these key markets.

Schuster joins the New York-headquartered fashion house with extensive experience in the premium and luxury sectors. Most recently, he held the position of commercial director at UK-based footwear retailer Kick Game and served as a partnership consultant for French technology firm ModaResa.

Leadership transition and regional strategy

The appointment marks a strategic move for Vera Wang as the company seeks to strengthen its commercial footprint in Europe. Schuster brings a significant tenure from German fashion group Hugo Boss, where he spent over 14 years in various high-level roles.

During his time at the company, Schuster served as commercial director for the Hugo brand across the EMEA region and Northern Hub from January 2022 to March 2024. Prior to that role, he held the position of wholesale director for the UK, Ireland, and Northern Europe.

His background also includes a four-year term as head of menswear at British label Nicole Farhi. This deep familiarity with the UK market and the broader European wholesale landscape is expected to be central to his new mandate at Vera Wang.

Expansion of bridal and ready-to-wear sectors

Founded in 1990 by former fashion editor Vera Wang, the brand began with a flagship salon at the Carlyle Hotel in New York City. While the label is primarily recognised for its significant influence on the bridal industry, it has expanded into a global lifestyle brand encompassing prêt-à-porter, accessories, and fragrance.

Schuster expressed his enthusiasm for the role, stating he is “happy to share” his new position with the team. He will be based in the London area to oversee the expansion of the brand's digital and physical distribution networks.

The hire follows a period of independent consultancy for Schuster, who also founded Industry Get Together (IGT) in March 2023.

ChannelEngine, the global marketplace integration and automation platform, today announced an expansion of its partnership with Monta, a leading fulfillment provider. With this expanded partnership, brands can now combine marketplace connectivity with scalable, local fulfilment, seamlessly integrated and powered by Monta.

This development marks a significant step in ChannelEngine’s evolution, extending its offering beyond integration to support the fulfilment needs of marketplace selling. ChannelEngine connects brands and retailers to over 1300 marketplaces worldwide and this expanded partnership introduces a strong fulfillment layer, enabling brands to better serve customers across key European markets including the Netherlands, Germany, France, and the UK.

By combining marketplace connectivity with localized fulfillment infrastructure, ChannelEngine helps brands and retailers simplify cross-border operations, reduce complexity, and accelerate growth across European marketplaces.

Jorrit Steinz, CEO of ChannelEngine, commented: “Expanding into new marketplaces is one thing, executing locally is another. With fulfillment capabilities now available across Europe and the UK through our partnership with Monta, we’re enabling our customers to start faster and scale more effectively in some of the world’s most competitive ecommerce markets.”

Through this extended collaboration, ChannelEngine can offer fulfillment services directly to its customers as part of a broader, integrated solution. Instead of managing multiple partners, brands can access both marketplace connectivity and fulfillment through a single ecosystem, from product data and listings to order management, storage, picking, packing, and shipping.

Gert-Jan van den Assem, Commercial Director at Monta, adds: “We see a growing demand from brands to not only sell across borders, but also to deliver locally with speed and reliability. By strengthening our partnership with ChannelEngine, we can offer a fully integrated solution that combines marketplace reach with high-performance fulfillment. This enables brands to create better customer experiences while scaling efficiently across Europe.”

With this addition, ChannelEngine strengthens its position as a central platform for marketplace growth, helping businesses stay in control while scaling globally.

British footwear brand Dr. Martens has announced the appointment of general managers for its primary global markets. The move follows a broader initiative to simplify the operating model of the company in alignment with its new consumer-first strategy.

The brand is transitioning to a market-level structure designed to increase proximity to the consumer base. This shift is accompanied by a reinforcement of global brand, technology and support functions.

Leadership appointments across key European and Asian markets

The business has promoted four internal candidates to lead its European territories. Nick Duff has been appointed UK general manager (GM), while Nathalie Schneider takes on the role of France GM. Kristin Staeren has been named DACH GM and Giorgio Trevisan will serve as Italy GM.

In Asia, the company recently appointed Yoichi Oikawa as the new Japan GM. Oikawa brings extensive experience in multi-channel operations and consumer engagement within the Japan and Asia-Pacific (APAC) regions, having previously held positions at Champion and Adidas.

The US market remains under the leadership of Paul Zadoff, president of Americas. These six core markets are highly significant for the business, collectively accounting for over 80 percent of global revenues.

Formation of new executive team

Dr. Martens is also streamlining its senior leadership through the creation of a new executive team. This body is led by chief executive officer Ije Nwokorie and is tasked with setting the strategic direction of the business.

The team includes Giles Wilson, chief financial officer (CFO), who now oversees technology and strategy. Carla Murphy serves as chief brand officer, managing product, marketing, customer experience and sustainability.

Additional members include interim chief operating officer (COO) Anna Duffiet and Mike Stopforth, who occupies the newly created role of chief commercial officer. The market GMs will report directly to Stopforth. The team is completed by Zadoff, chief people officer Bridget Jolliffe and Katherine Bellau, who serves as chief legal officer and company secretary.

“Over the past year we have reorganised our business and ways of working so that we are truly consumer-first, as opposed to channel-led,” Nwokorie stated.

Nwokorie added that the leadership team, which combines long-term company leaders with talent from other global brands, will be instrumental in delivering the strategy and scaling the business in the future.

Can fashion journalism reinvent itself? As traditional media faces a crisis, journalists are turning to the paid newsletter platform Substack. The platform promises editorial independence and substantial revenue for the most astute writers.

Founded in the US in 2017, Substack is not a media outlet but a website. It allows users to subscribe to free or paid newsletters, which cost around six euros per month. The author then receives the income, minus a 10 percent commission.

Since 2021, Substack claims to have gained one million paid subscriptions annually, reaching a total of five million subscriptions in 2025. The seemingly simple model relies on the author's ability to build a loyal audience. Unlike a traditional media outlet, no salary is guaranteed. Instead, revenue depends directly on the number of paying subscribers.

Initially a niche platform, it first attracted some big names in American political journalism. Substack then extended its influence to other sectors such as economics, technology and, more surprisingly, fashion.

American fashion journalist Louis Pisano, who covers the inner workings of the industry from Paris, was approached in 2019 by the Substack Pro programme team.

"I immediately thought it was brilliant, like going back to the blog era of the 2000s," he told AFP.

"Most importantly, it was finally a space where I would not have to worry about editors-in-chief or advertisers, two things I have had friction with in the past," he continued. His first piece, published in February 2025, was a long, revealing interview with a former employee of the controversial Kanye West's clothing brand. This propelled his success.

Meritocracy

"The press pays poorly and magazines are losing their best writers, the ones who shaped the vision," a fashion journalist who moved to the platform told AFP, requesting anonymity.

"The potential for growth is unlimited. If I create compelling content and the vision is right, I increase my subscriptions," she said. According to the company, the number of publications and subscriptions in the “fashion and beauty” sector has more than doubled each year since 2022.

"Fashion and beauty publishers collectively earn more than 10 million dollars per year from paid subscriptions to their Substack platforms," the US company told AFP in a written statement. For the price of a fashion magazine from a newsstand, where sales are falling, the public can subscribe to one of these newsletters. It seems unlikely, however, that they would subscribe to several.

"Substack is truly a meritocracy where users are in control. The subscription model rewards creators who respect their audience's trust and attention. It can also help forge deeper connections than on other social media platforms," she continued. In the US, newsletters such as Big Salad by Joanna Goddard, The Love List by Jessica Graves and Shop Rat by Emilia Petrarca have become fully-fledged media outlets.

In France, Bénédicte Burguet Journé's beauty, nutrition and personal development publication continues to climb the Substack rankings. Similarly, Inné's fashion newsletter, which specialised in practical advice for copying looks, also enjoyed a period of success.

Independence

Neither Substack nor the authors contacted would disclose their exact earnings. The company does not release the number of subscriptions per publication. However, a simple calculation estimates that with 3,000 monthly subscriptions at an average of six euros, a "Substacker" earns around 200,000 euros per year.

New York-based author Jessica Graves offers both monetised links to products and in-depth analyses of the sociology of fashion trends. She reports earning “more than 275,000 dollars” with her “Love List”. This content has “survived for 20 years through all format changes”, from blogs and social media to its current newsletter format.

In Paris, journalist Louis Pisano claims he “lives better” from his paid newsletter, Discoursted, than from his freelance work. "It is an eldorado, primarily because I no longer have to chase late payments," he joked. "You just have to look at what is happening with legacy traditional media. They are either dying, transforming into events agencies, or surviving solely to generate sensationalist clicks to reassure their advertisers," he stated. He is convinced that “the future of journalism is independence”.

Just in time for the 2026 wedding season, OLYMP Bezner KG is presenting an attractive collection of festive looks. The brand, known for its high-quality menswear and based in Bietigheim-Bissingen, Germany, has designed the collection to make the big day fashionably unique.

The special wedding range from OLYMP includes shirts in various designs, colours, patterns, fits, collar styles and sleeve lengths, all available in a wide spectrum of sizes. All shirts feature high-quality fabrics and first-class workmanship. They are designed with precise cuts and thoughtful details to ensure a stylish appearance. The collection also includes matching pieces to create a complete look. These include fine knitwear and innovative jersey items for modern layering, as well as overshirts for the evening before or the honeymoon.

Today, festive styling is no longer defined solely by accessories like ties or the contrast between light and dark colours. Instead, it is about creating a clear and coherent overall appearance. High-quality materials, calm silhouettes and a clean overall impression are just as important during the wedding ceremony as in the more relaxed phase afterwards. The wedding range is completed with perfectly coordinated accessories. These pieces stylishly finish the look, tailored to the specific role and occasion.

Heiko Ihben, managing director of brand, product and human resources at OLYMP, says: “A wedding day involves several stages: the civil ceremony; the wedding service; the reception; and the party. Our aim is an outfit that effortlessly transitions through these changes. It should look elegant with a jacket on, and remain stylish when the jacket is removed. A modern, minimalist look is appropriate today, even without a strictly formal dress code. Fine knitwear or a high-quality T-shirt in a special interlock jersey can be combined for a simple yet elegant style. Dress for Yes 2026 is aimed equally at grooms, best men and ‘best dressed’ guests. This creates an appearance that is impressive on the day and remains unforgettable in photographs.”

The festive styles from OLYMP combine timeless elegance with maximum comfort. The collection features current colours such as sage, cream, light blue and rosé, alongside fresh patterns. The pieces also stand out for their selected materials, finishes and refined product details, like contrast buttons in pastel shades. A tailored fit guarantees the shirts will sit perfectly. Non-iron and crease-resistant properties ensure a polished appearance, even as the look becomes more relaxed in the evening.

Colour-coordinated ties and bow ties in pure silk add a festive touch. Crucially, they should remain a stylish detail rather than becoming the focal point. Pocket squares and braces add personality to the outfit. They allow for subtle distinctions between different roles. This ranges from the groom's look of clear elegance to the best man's attire. Guests can also use them to stylishly fit the celebratory setting while still making a positive impression.

Madrid – Diplomacy has prevailed over conflict following an announcement made in the early hours of this morning, Central European Summer Time, by US president Donald J. Trump. The statement concerns the armed conflict involving the armies of the US, Israel and Iran since February 28. This crisis appears to be on track according to the American president, who announced a two-week bilateral ceasefire between the US and Iranian armies.

After causing widespread global astonishment with statements the previous day, Trump once again used his official account on Truth to provide updates on the conflict. He had previously warned that an entire civilisation would perish if Iran did not adopt less radicalised positions during a complex moment in world history. On this occasion, his statements were markedly more optimistic as he announced a two-week bilateral ceasefire with Iran. This period will be used to finalise a definitive and long-term peace agreement for the entire Middle East region.

Following conversations with prime minister Shehbaz Sharif and field marshal Asim Munir of Pakistan, Trump agreed to suspend bombings and attacks against Iran for two weeks, provided the Islamic Republic of Iran agrees to the complete and safe opening of the Strait of Hormuz. Trump specified that this will be a bilateral ceasefire, explaining that military objectives have been exceeded and negotiations for long-term peace are well advanced. Regarding these talks, he added that the US has received a 10-point proposal from Iran which constitutes a viable basis for negotiation. The US and Iran have reached an agreement on almost all previous points of contention, though a two-week period will allow the deal to be finalised. On behalf of the US, Trump stated it is an honour that this long-standing problem is close to being resolved.

Safe opening of Strait of Hormuz

In response, Seyed Abbas Araghchi, minister of foreign affairs of the Islamic Republic of Iran, issued an official statement accepting the two-week ceasefire. During this period, the peace agreement will be finalised based on the 10-point proposal and safe passage through the Strait of Hormuz will be guaranteed.

Araghchi expressed gratitude to the prime minister of Pakistan and field marshal Munir for their efforts to end the war. In response to the request from Sharif and the US request to enter negotiations based on its 15-point proposal, Araghchi declared that if attacks against Iran cease, the armed forces will suspend defensive operations. He concluded by stating that for a period of two weeks, safe passage through the Strait of Hormuz will be possible through coordination with the armed forces of Iran.

Great day for world peace

Following the official declarations, Trump again used his Truth account to celebrate the initial understanding. He described the starting point for definitive peace in the region as a great day for world peace and announced that the US will help to ease traffic congestion in the Strait of Hormuz.

Trump declared that Iran wants peace to happen and noted that the US will assist with the traffic build-up in the Strait of Hormuz. He suggested there will be positive action and that Iran can begin the process of rebuilding. The US president warned that the US will remain present to ensure everything goes well, pointing out that this could be the Golden Age of the Middle East.

US-based denim leader Levi Strauss & Co. has reported robust financial results for the first quarter ended March 1, 2026, prompting the group to increase its full-year outlook. The company saw broad-based growth across all regions and channels, bolstered by its strategic pivot toward a direct-to-consumer (DTC) denim lifestyle model.

Quarterly revenue and regional performance

Net revenues reached 1.7 billion dollars, representing a 14 percent increase on a reported basis and 9 percent on an organic basis compared to the first quarter of 2025. This performance was supported by a double-digit rise in international markets.

In Europe, net revenues grew 24 percent on a reported basis and 10 percent on an organic basis. Asia followed with a 13 percent reported increase, while the Americas saw a 9 percent rise. Within the US market, revenues increased by 4 percent. The group’s activewear brand, Beyond Yoga, also performed well, seeing a 23 percent increase in net revenues.

Channel evolution and digital growth

The company’s shift toward a direct-to-consumer (DTC) model remains a primary growth engine. DTC net revenues rose 16 percent on a reported basis, now accounting for 52 percent of total net revenues for the quarter. Within this channel, e-commerce grew by 21 percent, while DTC comparable sales saw a 7 percent increase.

Wholesale net revenues also performed better than anticipated, rising 12 percent on a reported basis. Levi Strauss president and chief executive officer, Michelle Gass, noted during the earnings call that the wholesale segment is benefiting from increased partner investment in women’s categories and tops, which remain under-penetrated areas for the brand.

Profitability and shareholder returns

Net income from continuing operations rose to 177 million dollars, up from 140 million dollars in the previous year. Adjusted diluted earnings per share (EPS) reached 0.42 dollars, surpassing initial guidance.

During the quarter, the group returned 214 million dollars to shareholders through 54 million dollars in dividends and a 200 million dollars accelerated share repurchase program. The company has also completed the divestment of its Dockers business, which is now reported under discontinued operations.

Leadership transition and future outlook

The company announced that executive vice president and chief financial and growth officer, Harmit Singh, will retire after a successor is appointed. Singh will remain as a special advisor during the transition.

Reflecting on the positive start to the year, the group has adjusted its fiscal 2026 guidance. Reported net revenue growth is now expected to be between 5.5 percent and 6.5 percent, while organic growth is projected at 4.5 percent to 5.5 percent. Adjusted diluted EPS has been raised to a range of 1.42 dollars to 1.48 dollars.

"Our strategic transformation is translating into higher returns and more profitable growth," Singh stated. The updated guidance accounts for potential macro-economic pressures and assumes import tariffs from China remain at 30 percent and rest-of-world at 20 percent.

Under its premiumisation strategy, the group continues to focus on full-price selling and innovation, with its high-end Blue Tab line seeing a 40 percent increase in the quarter.

The UK government has officially launched the Fair Work Agency (FWA), an organisation designed to protect workers’ rights and ensure accountability from businesses required to follow employment laws. Its formation addresses a system that has been historically fragmented, providing both workers and employers with a single entity to turn to regarding workplace rights.

Context and backdrop

The UK fashion supply chain is currently undergoing a profound transformation. For years, domestic garment manufacturing has struggled in the throes of fragmented labour enforcement and widespread allegations of worker exploitation. In hubs like Leicester, historical debts owed to underpaid workers were estimated to reach 125 million pounds, with workers collectively denied up to 2.1 million pounds a week at the peak of illegal pay practices, a report by Labour Behind the Label stated.

The industry is therefore pushing for revitalisation. Leicester, for example, is currently serving as the pilot for the UK Textiles Renewal Project, driving a regional rebrand to establish the city as a high-tech, high-volume manufacturing cluster. To support this, a major 2026 apprenticeship intake is working to close the local skills gap. In this context, digital product passports (DPPs) and total supply chain transparency are now non-negotiables, moving the local industry into an era of stringent accountability and technological renewal.

What is the Fair Work Agency?

It is in this backdrop that the FWA has been established. The organisation brings together several existing groups, such as HMRC’s National Minimum Wage Unit and the Gangmasters and Labour Abuse Authority, under one roof. Their collective goal is to streamline strategy and improve efficiency, following a mandate to support compliant businesses through guidance and take action against employers who exploit workers.

The agency itself will retain the power to inspect workplaces, issue civil penalties, and recover unpaid wages for issues like the minimum wage and statutory sick pay. Ultimately, the aim is to level the playing field so that ethical, responsible fashion manufacturers can thrive without being undercut by illegal operators.

How is it rolling out?

The rollout of the FWA is taking a phased approach following the passing of the Employment Rights Act 2025. From April 2026, the agency will enter a transitional year after its establishment as it brings together multiple bodies under a single leadership structure. During this period, HMRC will continue to enforce the National Minimum Wage under a contracting arrangement with the FWA.

From 2027, the HMRC National Minimum Wage unit will fully integrate into the FWA. The agency will also expand its remit to enforce holiday pay and statutory sick pay.

In April 2027, the FWA is expected to publish the first Statutory Enforcement Strategy and, after the end of the 2027/28 financial year, the first Statutory Enforcement Annual Report, which will set out how the organisation has delivered against the priorities in the initial strategy.

How are industry organisations responding?

The consolidation of the agency has been largely welcomed by ethical manufacturing advocates who view it as a necessary step to secure public and brand trust.

Jenny Holloway, chief executive officer of Fashion-Enter and chair of the Apparel and Textile Manufacturers Federation (ATMF), highlighted the importance of the agency for the sector’s growth, particularly amid the unification of Leicester factories, which requires a streamlined approach for compliant businesses.

“As we work collaboratively to bid for public procurement contracts, it is essential that enforcement bodies have confidence in the factories they engage with,” Holloway added.

Labour Behind the Label also views the formation of a single entity as a positive step forward towards worker accessibility and centralised support. In doing so, the organisation views the agency as a vital tool in tackling the “culture of fear” prevalent in sectors like fast fashion manufacturing, with the focus on high-risk sectors emerging as a targeted approach to addressing long-standing issues, like the National Minimum Wage gap in manufacturing hubs.

The organisation did note, however, that these positive points will only influence real change if the agency is “properly resourced”, maintains a “firewall” from immigration enforcement, and moves beyond “supporting” employers to “robustly penalising” the brands that drive the low-cost model.

Its concern revolves around the ‘Brand Accountability Gap’, with current enforcement heavily targeting individual factories rather than the fast fashion brands dictating terms. In its current state, brands are able to use their purchasing power to demand low prices and short timeframes, driving exploitation while evading legal accountability.

Additionally, labour enforcement is linked to immigration control, which Labour Behind the Label states acts as a deterrent for migrant workers to report abuses out of fear of deportation. The organisation is calling for a strict separation between employment rights enforcement and immigration enforcement so workers can safely report exploitation.

Interview

This interview was previously published in Italian on 26 March 2026. With the passing of Adriano Goldschmied earlier this week we decided to translate it.

Denim's roots date back to the 1500s. Despite its age, this fabric is still very much in fashion and relevant. Many luxury brands have featured it in their latest collections, appealing to both new generations and their most loyal customers. Innovation in the denim segment has always been a constant. Today, more than ever, experimenting with and studying new formulas, collaborations, combinations and versions is necessary to make this fabric desirable, interesting, sustainable, credible and successful.

FashionUnited interviewed an authority on the subject: Adriano Goldschmied, known as the godfather of denim. He has worked in this sector for over fifty years and has created brands such as Goldie, A Gold E, Diesel, Replay, Gap 1969, Ag Adriano Goldschmied and GoldSign, to name just a few. His successes also include the invention of the stonewash technique, experimentation with and use of Tencel fibres, the creation of super-stretch denim and the implementation of sustainable methods as early as the 1990s. He is also currently a member of the Council of Fashion Designers of America (CFDA). In recent years, with Daily Blue and House of Gold, he has divided his time between Italy, specifically Veneto for the creative side, and Los Angeles for operations, working on the design, production and distribution of high-quality denim-inspired fabrics.

According to Goldschmied, denim, like fashion, is experiencing an epochal change. In this game, brands and companies that invest with tenacity and determination in innovation, quality, sustainability, credibility and consistency are destined to win. Almost ten years ago, in a previous interview, he said that one must be "made everywhere" but a winner. The consumer is informed, knows how to recognise quality and that is what matters, not the "made in". One must be "made everywhere" but a winner. He was a dissenting voice at the time. Today, it seems many are taking notice.

A preview of the Pioneer Denim autumn/winter 2027 'Storm of Love' collection

The collection we will present stems from my collaboration with Pioneer Denim (part of the Badsha Group, editor's note), which already resulted in a collection last November. It was inspired by the fabrics and style of the Nordic countries. Perfume of the Highlands is a revolutionary collection that redefines the possibilities of denim design. At Pioneer, we developed a wool-cotton blend yarn and successfully rope-dyed the warp to create a unique wool/cotton denim. The collection is finished using Soko's Hydrogel technology, a process that converts water into a gel, allowing for a gentler, faster and more sustainable wash. The gel acts as a protective cushion around the fibres, preserving the surface while offering a clean, sophisticated finish.

The new capsule we will present is very interesting because I have also developed new fabrics. In the first one, we brought wool into denim. Contrary to what many have done, we created a fabric that is 30 percent wool and 70 percent cotton. The difference is that while almost everyone else uses the weft, we put the wool in the warp, creating a blend of cotton and wool. This brings a huge advantage because you can feel the wool. When it is in the weft, the effect is somewhat lost. Above all, it does not cause problems in washing; it can be washed at the same temperatures as the cotton programme without felting.

For the new collection, we have developed this concept while staying true to the Highlands style and have also added actual tartan fabrics. The colours used are sulphur-based and therefore tend to fade in a similar way to denim. This capsule, therefore, also gives a sense of vintage, of antiquity.

The Moonskin denim collection with Isko

The collection, characterised by modern and fluid silhouettes, which I designed for Isko, included prototypes and finished garments to show how denim brands can work with the supplier's fabrics and how they can interpret the various collections. The Moonskin project, developed with my brand Daily Blue, shows the creative potential that emerges when cutting-edge textile engineering meets visionary design. It highlights Isko's City glam coating technology, a finish that offers glossy shine or soft matte subtlety while preserving the authentic character of denim.

I think the collection has achieved an excellent result, also because we managed to create a coated fabric with a very interesting, soft and very feminine handfeel. This is something that is not normally possible because all fabrics treated with a coating are stiff, whereas this fabric is extremely pleasant.

Daily Blue's continued focus on innovation

Yes, that's right. I am completely focused on textile innovation and design, of course. Experimentation in this sector is the predominant part of my work.

How to innovate in practice

I collaborate with various companies that have specific characteristics depending on the project I want to pursue. This gives me the opportunity to leverage their know-how and access maximum specialisation depending on my needs from a technical, construction, weaving or dyeing perspective. My research is very extensive, so the companies I need have very different characteristics, capabilities and technical skills.

Innovation behind denim

My goal is to provide luxury houses with the tools to manage and create distinctive denim products. It is clear that regular jeans are not suitable for the collections of luxury houses.

The 'Digital blue wave' project with Artmill

That is another example where you can see the development of innovation first-hand. Printing denim is one thing; working it by hand is another. That project brings out my ultimate goal: to create new areas of development and thus create an area of new products.

The idea behind this product is to be able to make denim with digital printing. The underlying objective is to democratise what they do in Japan, a country where they are extremely advanced in research and make products that are, however, absolutely expensive. My idea was to reproduce these products with a print and thus give denim brands the opportunity to recreate looks inspired by the Japanese textile segment, including all the work that is actually done by hand, thus 'democratising' the garments. In this case too, the collection was a prototype and is not for sale.

Artmill has invested in digital printing, believing in the possibility of printing denim instead of using the traditional yarn-dyeing process. In addition to environmental benefits, this technology transforms the denim production process. It allows for reduced inventory; flexibility; extraordinary precision and definition; and greater efficiency in product development and production. The project allows brands to stay closer to the market and consumers, responding more quickly and effectively to emerging trends.

Evolution of the denim market

Much like in all sectors, there has been profound innovation in the area and, more generally, in the business. We also see a strong presence of marketing. On the production front, there has been a shift to countries where the cost of production is lower and where the products made are traditional but of high quality. Take, for example, my collaboration with Ovs, where great sourcing capability is combined with great design capability.

In recent weeks, we have also all read about Zara hiring John Galliano. These are not things that happen by chance. It is clear that the luxury market has crossed a line; it has surpassed a certain price level, putting itself out of the customer's reach. In my opinion, we are facing an epochal change where the focus must be on product quality and the ability to make it cost less. I, for example, work a lot in China and I can say that the Chinese, today, are extremely capable of making good products at reasonable prices, and this changes the nature of the market. Let's also not forget that China is a country of 1.5 billion consumers.

Sustainability, consumer awareness and corporate attention

Sustainability is a very complex topic. First of all, it is clear that in difficult times, the customer is not willing to spend more for a sustainable product. The fact remains that, even politically, we are in what I would call a recession regarding sustainability issues. It is certain that companies are very oriented towards developing sustainability; it is a theme always mentioned in strategies. Today, it is hard to find a company that does not declare itself sustainable. Whether it is true or not is another matter.

Honestly, however, I do not believe that offering a sustainable product is an argument that alone can convince the final customer. The group of people who are convinced 'only' by that is very limited, but at the same price, the situation can change. In this respect, information, social media and the media play a fundamental role. Artificial intelligence is also important and can help companies reduce costs and optimise investments. It is a battle with combatants, but the winner has already been decided. In my opinion, it is the one who brings innovation, sustainability and new technologies.

University of Palermo has introduced a new industry-focused workshop as part of its Bachelor of Design programme, connecting students with professionals to develop solutions for real-world projects.

The initiative is part of the “Real Works for Real Clients” programme and involves collaboration with Metrar and Solar Concept Gallery. Third-year students were tasked with creating proposals for the gallery, combining creativity with production feasibility and material considerations.

Ideas into products

Industrial entrepreneur Juan Ignacio Serrot contributed insights on manufacturing processes, while architect Sol Juárez discussed translating ideas into physical products and spaces. Students will present their projects to a jury of industry professionals at the end of the semester.

Programme director Daniel Wolf said the initiative aims to help students understand how design decisions connect with production realities and market needs. The collaboration reflects a broader trend in design education toward partnerships with industry to support applied learning and innovation.

Montclair State University students are set to present their annual fashion show, offering a platform for emerging designers to showcase original work across a wide range of styles and silhouettes.

According to coverage from Montclair Local, the student-produced event highlights creative experimentation, with collections exploring diverse aesthetics and concepts through design and styling. The runway serves as a space for students to translate coursework into finished garments and gain experience in presentation and production.

The annual show typically involves collaboration across design, merchandising and production roles, giving participants hands-on exposure to industry-style workflows. For fashion students, the event provides an opportunity to develop portfolios, while educators often view it as a culmination of practical learning and interdisciplinary teamwork.

Such university-led runway presentations continue to play an important role in fashion education, allowing students to test creative ideas in a professional setting and engage with peers, faculty and the wider community.

Madrid – This marks the latest chapter in the turbulent decline of the Spanish bridal fashion group Pronovias, a journey that began with its sale by Alberto Palatchi in 2017 to the British private equity fund BC Partners. This transaction is seen as the root of the financial difficulties the company has since faced. Pronovias is now on the brink of filing for insolvency and is embroiled in a bidding war, with notable offers from fellow Spanish company Desigual and the US investment fund Enduring Ventures.

To provide some context, the current owners of the Pronovias group made unsuccessful efforts to relaunch the company. The company has been owned since December 2022 by private equity firms Bain Capital and MV Credit, the latter of which was acquired in September 2024 by the US firm Clearlake. In late November 2025, Pronovias' owners initiated a determined process for the sale of the company. This process, led by the international financial group Rothschild, ultimately failed. This led the bridal fashion company's owners to adopt a new strategy to achieve their goal of a complete divestment from Pronovias' capital.

In pursuit of this goal, initial reports emerged in late January 2026 that Bain Capital and Clearlake had decided to seek a judicial 'pre-pack' administration to both accelerate and finalise the sale of Pronovias. This procedure was justified by the bridal group's looming insolvency. Under the supervision of the Commercial Court No. 9 of Barcelona, the professional services firm FTI Consulting was appointed as the independent expert to oversee the initial phase of the process. For this phase, the group's owners also agreed to dismiss Cristina Alba Ochoa, who had been chief executive officer since July 2025. From late 2025, the company was placed in the hands of Abencys, a law firm specialising in corporate restructuring. Specifically, it was managed by a team including Esther Alfonso, Antonio Arenas, and Luis Martín, the founding partner of Abencys, who was then appointed as the new chairman of the Pronovias group.

Binding offers from Desigual and Enduring Ventures

As part of this initial 'pre-pack' (pre-insolvency process) phase, various investment funds and interested companies have submitted offers to take control of the company since FTI Consulting's appointment as an independent expert. According to the business publication El Economista, FTI Consulting's timeline was to conclude the offer submission process in the last week of March. This was to be followed by a two-week period for interested parties to conduct due diligence on Pronovias' accounts, a phase that has now reportedly concluded.

FTI Consulting is now reportedly finalising its analysis of the various proposals received for Pronovias, a process expected to take only a few more days. Once a decision is reached, it will be communicated to the group's management. Among the proposals, the binding offers submitted by the Spanish fashion firm Desigual and the US investment fund/holding company Enduring Ventures are considered the frontrunners.

Once FTI Consulting selects the best offer for Pronovias, the company's management will proceed with the standard steps for such a process. They will file for voluntary insolvency proceedings, attaching the offer from the chosen bidder. This will initiate the second phase of the 'pre-pack', which should conclude with the accelerated sale of Pronovias' business unit to the selected group/fund, following judicial approval.

Desigual poised to acquire Pronovias

According to the same sources, Pronovias concluded its last full financial year in 2025 with total annual sales down to 88 million euros (101.8 million dollars), a 15.38 percent year-over-year decrease, and a negative EBITDA of -9 million euros. These key economic indicators from a loss-making fiscal year reinforce the negative trend the company has experienced since 2019. That year marked a turning point in its performance. Since then, Pronovias has seen a general decline in sales across distribution channels. Wholesale sales fell from 103 million euros to 40 million euros, a 61.17 percent drop, while retail sales decreased from 50 million euros in 2019 to 35 million euros in 2025, a 30 percent decline. In the retail sector, the company continues to operate through 47 of its own stores, 26 of which are in Spain.

For 2026, based on information also reported by El Economista, Pronovias forecasts sales of around 79 million euros, a 10.22 percent decrease, but with a positive EBITDA of approximately 8 million euros. Desigual may have first-hand knowledge of these forecasts. In mid-February, reports emerged, though unconfirmed by the company, of the return of Marc Calabia to Desigual. Calabia was CEO of Pronovias from September 2023 to September 2025 and was previously with Desigual from 2013 to 2018. He was said to have returned as its new product director. We reiterate that this position has not been confirmed by Desigual or Calabia to date. It remains to be seen if this was a preliminary step by Desigual and its founder and chairman, Thomas Meyer, before bidding for control of the Pronovias group. Other industry players, such as Barcelona-based Rosa Clará, were also reportedly interested in the acquisition. However, unlike Desigual and Enduring Ventures, Rosa Clará did not submit a binding offer for its long-standing rival.

Following Brussels, Australian brand Zimmermann has announced the opening of a new boutique in Knokke, on the Kustlaan coastal boulevard.

This opening is part of Zimmermann's European rollout, which relies on a hybrid model of its own stores* and wholesale distribution.

Founded in 1991, the brand is positioned in the contemporary luxury segment. Majority-owned by investment fund Advent International since 2023, Roberto Eggs (formerly of Moncler) will become the new chief executive officer in May 2026.

Since its creation by sisters Nicky and Simone Zimmermann, who retain a minority stake, Zimmermann has developed a feminine, summer aesthetic. It is mainly composed of flowing dresses, soft colours, lace and floral prints.

In this context, the choice of Knokke-Heist is a logical strategic move. The brand is opening its second store there, following the one in Brussels which opened in November 2025.

Knokke-Heist, a location consistent with the brand's resort segment

Located on the Belgian coast, Knokke-Heist is an upmarket seaside resort popular with a local and international clientele with high purchasing power. This positioning is in line with Zimmermann's offering.

The boutique was designed by Studio McQualter, which also designed the Brussels store.

Conceived as a “resort store”, the interior is designed with materials such as soft-toned recycled terrazzo and exposed steel structures. The furniture includes a mid-century style (1950s-1960s) marble and wood table, as well as a chandelier by Vico Magistretti from the 1960s.

An abstract sculpture by Peter Cooley welcomes visitors at the entrance, while the work Dino Boss by Fabian Brown Japaljarri is displayed in the lounge area.

“It’s exciting to see our Knokke boutique come to life,” said Nicky Zimmermann, artistic director and co-founder, in the press release. “We wanted to give it a typical seaside resort boutique atmosphere, the kind of environment where you feel relaxed and want to immerse yourself during the holidays. I love the way this lightness is enhanced by a unique mix of materials and works of art.”

Luxury Brazilian swimwear and resort wear brand ViX Paula Hermanny has announced British model and entrepreneur Rosie Huntington-Whiteley as its new designer and global ambassador.

Described by Huntington-Whiteley as an “incredibly personal” collaboration, the model has co-designed three collections with Paula Hermanny featuring swim and ready-to-wear pieces, centred around the duo's shared vision “of craftsmanship, femininity, and a lifestyle shaped by travel”.

The debut collection from Huntington-Whiteley, which is available globally from today, April 7, features a minimalist palette inspired by Brazil’s landscape with silhouettes that channel “sexiness with intention while being quietly bold and refined”.

Highlights include neutral-toned silks elevated by slits and plunging necklines, designed to transition seamlessly from day to night, as well as statement-making swimwear adorned with gold hardware accents.

Paula Hermanny, founder and creative director of ViX Paula Hermanny, said in a statement: “Rosie has embodied the ViX spirit well before this official partnership. Her lifestyle, her femininity, and her appreciation for thoughtful design align so naturally with the brand.

“Collaborating with her on this capsule was incredibly intuitive. She understands how a woman wants to feel in her clothes: confident, sophisticated, and completely herself.”

Commenting on the collaboration, Huntington-Whiteley added: “This collaboration feels incredibly personal as I’ve worn ViX for years. Paula and I share a love for beautiful fabrics, clean lines, and pieces that feel effortless yet considered.

“I wanted to design a collection to reflect how women really live and travel, pieces that feel effortless, sensual, and timeless, wherever you are in the world.”

The US Small Business Administration (SBA) has announced expanded support for small manufacturers through its International Trade Loan (ITL) programme, offering loans with a 90 percent federal guarantee. The initiative, dubbed the ‘Made in America Loan Guarantee’, is designed to help small manufacturers grow facilities, hire workers, and increase production.

Starting May 1, businesses across the manufacturing sector (NAICS Sectors 31-33) will be eligible for the extended ITL programme. Funds can be used to upgrade equipment, modernise production lines, expand operations, and diversify supply chains, contributing to the broader mission of bringing critical production back to the US.

In a statement, SBA administrator Kelly Loeffler said: “Industrial dominance is essential to our national security and strength. Our new Made in America loan guarantee gives US manufacturers additional financing to expand operations, modernise equipment, and supercharge domestic production. Small businesses make up 98 percent of all manufacturers in America, and the demand for capital to expand and hire is evident.”

The ITL programme intends to unlock long-term, affordable financing with a higher SBA guarantee than the existing 7(a) Loan Programme, designed to give lenders confidence to invest in machinery, facilities, and production capacity. It builds on wider initiatives introduced under the Trump administration “to rebuild America’s industrial dominance”, including tax incentives, waived loan fees, and the Make Onshoring Great Again Portal, which connects manufacturers with domestic suppliers.

For small manufacturers, this expanded programme provides tools to strengthen production, reduce reliance on foreign suppliers, and increase competitiveness. Lenders and businesses interested in the updated ITL programme can contact the SBA’s national team of Finance Managers for guidance and support.

The Dutch edition of the FashionUnited Top 500 Instagram index reveals the significant digital impact of Dutch fashion. Dutch brands excelling in multi-brand retail also dominate the online space. G-Star RAW leads the list with 847,000 followers, closely followed by the iconic Viktor & Rolf.

Alongside established names, streetwear pioneers such as Patta and Daily Paper demonstrate their global influence. The “social-first” strategy of brands such as My Jewellery and NIKKIE is also proving successful, placing them among the top contenders. The index shows that Dutch labels, from denim to high-end streetwear, are punching well above their weight on social media and inspiring an audience of millions.

View the complete list of Dutch brands here:

Methodology

This ranking includes 569 fashion brands registered in the Netherlands in the International Fashion Brand Directory. Follower counts were collected in March 2026 from their respective Instagram profile pages. Brands are ranked based on their total number of followers. Subsidiaries that share the same Instagram account with their parent company have been deduplicated.

About the FashionUnited Brand Directory

The FashionUnited Brand Directory is the most comprehensive database of fashion brands worldwide, featuring over 4,000 brands from more than 50 countries. Each brand profile includes company information, social media presence and industry classification.

View the various segment and local indexes on the Global Fashion Instagram Index.

Just days after a historic visit from a delegation of nine MEPs, Beijing published new national strategic guidelines on Monday, April 6, 2026. Amidst reinforced customs duties and a push for “harmonisation with international rules”, China is reforming its ultra-fast fashion model, which has become a major issue in economic diplomacy.

Trigger: explosion of small parcels and safety scandal

The conflict reached a climax in March 2026 following the publication of staggering figures. 4.6 billion parcels were sent to the EU in one year, with 91 percent originating directly from China.

Beyond the sheer volume, non-compliance served as political leverage for the European delegation. Tests by France's consumer fraud authority, the DGCCRF, revealed critical results. 70 percent of the products tested did not comply with European standards, and 45 percent were deemed dangerous due to toxicity or choking hazards.

Negotiation: three pillars of normalisation

The European delegation, led by MEP Anna Cavazzini, demanded concrete guarantees in exchange for continued access to the single market:

• Legal liability: Platforms are now accountable for the products they list and face massive fines.
• Source control: Beijing commits to screening exports before they leave Chinese territory.
• Algorithmic transparency: Increased protection against “deceptive designs” and content unsuitable for minors on Shein and Temu.

Concrete impacts: end of the digital wild west

The economic model of Chinese ultra-fast fashion, based on the avoidance of taxes and standards, is ending in favour of a more institutional framework.

Before April 2026, the model was opportunistic. The sector benefited from a customs exemption (the de minimis rule for shipments under 150 euros). Responsibility rested with third-party sellers, who were often untraceable, and random checks were performed on billions of small parcels shipped by air.

After April 2026, it is the era of compliance. The new framework imposes a fixed tax of 3 euros per item and processing fees. The platform becomes the sole legally responsible party. To reduce costs, companies are encouraged to establish “local supply bases” in Europe. Inspections are officially tripled and will rely on AI to certify textile composition.

Beijing’s response: advent of fast track

Faced with pressure from Brussels, Beijing has chosen to turn this constraint into a national strategy. According to the official document published by the state news agency Xinhua, several Chinese ministries have joined forces to launch directives aimed at “strengthening the role of e-commerce in supporting the real economy”.

China now proposes creating pilot zones where international standards will be applied directly at the factory. To ensure this compliance, Beijing is relying on technological innovation, particularly through the deployment of AI-certified scanners like the Fastsort-Textile. This tool can instantly identify fibre composition, enabling product quality validation before shipment.

The Chinese government now advocates for “greater harmonisation with international rules” and aims to transform its e-commerce into a “fast track” for high-quality products. This initiative, dubbed “Silk Road e-commerce”, also seeks to facilitate the entry of European goods into the Chinese market to rebalance the trade balance.

Forward-looking analysis: towards compliance fashion

As researcher Chen Bo, quoted by the Reuters news agency, points out, these measures are a “constructive step forward”. For platforms like Shein and Temu, the choice is now between full normalisation, by respecting health and tax standards, or facing a gradual block from the European market. The MEPs' visit marks the end of the regulatory “grey area”, where the fashion of tomorrow will, by necessity, be one of compliance.

The American Apparel & Footwear Association (AAFA) has filed a legal complaint challenging the implementation of California’s Responsible Textile Recovery Act of 2024, marking a significant development in the rollout of the US’s first extended producer responsibility (EPR) scheme for textiles.

The complaint targets regulator CalRecycle, arguing that its initial designation of a Producer Responsibility Organisation (PRO) does not meet the statutory requirements set out under SB 707.

The act itself intends to establish a framework requiring producers to take responsibility for the collection, reuse, repair and recycling of textile products at end of life. A central element of the system is the PRO, an industry-led body responsible for coordinating compliance and infrastructure development.

Earlier this year, CalRecycle appointed Landbell USA as the leading body for the act, tasking the organisation with overseeing the management and stewardship of regulated textile products in California. Landbell is thus responsible for developing a Producer Responsibility Plan, while CalRecycle will oversee annual progress reports submitted by the nonprofit.

According to AAFA, however, the selected PRO fails to meet key criteria outlined in the legislation, including being producer-formed, having a representative board, operating as a non-profit, and maintaining robust financial controls.

In a statement on LinkedIn, Stephen Lamar, president and CEO of AAFA, said the organisation had worked closely with stakeholders and legislators to shape the law into a “strong and productive” framework for textile circularity, but had “no recourse” but to challenge the decision. He added that the complaint is intended to be narrow and resolved quickly to avoid delays in implementation.

AAFA emphasised that the design of the PRO will play a critical role in directing investment into recycling infrastructure and enabling producers to meet regulatory obligations, as well as supporting product redesign for circularity.

Klekt, Europe’s sneaker and street culture marketplace, has announced that American sneaker designer, collector, and entrepreneur Sean Wotherspoon has invested in the platform, which was acquired by Belfast-based fashion technology firm Responsible in November 2025.

In a statement, Klekt said that Wotherspoon would be investing an undisclosed sum in the platform and joining as its new chief community curator to help guide Klekt’s “cultural direction and community initiatives”.

Commenting on the news, Wotherspoon said: “Klekt has always felt very rooted in the real sneaker community, and that’s what drew me in. It’s really all about storytelling, and the people and culture behind those stories.

“I’m excited to support the team as chief community curator and help build the next chapter of Klekt.”

On his own social media, Wotherspoon added that the collaboration would be a “multiple-year” partnership, and that his role would be “to find ways to expand the platform, while also powering the community…and reminding everyone why we love sneakers”.

The move comes ahead of Klekt launching a community crowdfunding campaign on April 8 on Republic as it looks to expand beyond sneakers into a broader resale marketplace spanning streetwear, collectables, and circular commerce.

The campaign marks the next phase of Klekt’s evolution under Responsible, the company that powers circularity platforms for brands and retailers, which has ambitions to build a global marketplace centred on community, culture, and the growing resale economy.

Mark Dowds, chief executive at Responsible, added: "Klekt has always been about more than just transactions and numbers. It's about the culture and the community around sneakers.

“With Sean joining and the community playing an even bigger role in the future of the platform, we're excited to take Klekt into its next chapter across new categories and new geographies."

New Zealand-based apparel brand As Colour has opened in the Netherlands. It is the brand's first European store. For its first location, it has chosen the Negen Straatjes shopping district.

Internationally, the brand has 27 stores and six distribution centres across Europe, the United States, the UK, Australia and New Zealand. The Amsterdam store opening marks its 28th store worldwide.

As Colour was founded in Auckland in 2005. The brand develops 'blank apparel': basic pieces that are worn as minimalist clothing items and also used for personalisation, such as screen printing and embroidery. The collections are designed in New Zealand and include T-shirts, hoodies, sweaters and headwear.

Take a first look at the store through the images below.

Labour Behind the Label has warned that widespread labour exploitation persists across the UK’s fashion supply chains, despite planned reforms aimed at improving worker protections. In a new briefing, the organisation outlines the scale of non-compliance in the UK labour market, particularly in fast fashion production.

Citing research from Resolution Foundation, the report highlights that 32 percent of low-paid workers are underpaid, while 900,000 workers miss out on paid holiday entitlements. A further 1.8 million workers do not receive payslips, limiting their ability to verify wages, and one in five workers report workplace discrimination.

The report argues that exploitation is driven by systemic issues, including insecure employment, subcontracting, and weak enforcement. Workers in sectors such as garment manufacturing face heightened risks, particularly migrants and those on precarious contracts, who may be reluctant to report abuses due to fear of retaliation or immigration consequences.

Labour Behind the Label welcomes the introduction of the UK’s planned Fair Work Agency, launching today, which will consolidate enforcement functions currently spread across multiple bodies. The agency is expected to introduce stronger inspection powers, recover unpaid wages, and provide a single access point for workers seeking support.

However, the organisation warns that the agency’s effectiveness will depend on sufficient funding, stronger collaboration with trade unions and local stakeholders, and a more proactive enforcement approach. It also calls for a separation between labour enforcement and immigration control to encourage reporting of abuses.

Beyond enforcement, the report highlights a “brand accountability gap,” arguing that fast-fashion business models, characterised by low prices and tight production timelines, continue to drive illegal labour practices within supply chains. To address this, Labour Behind the Label is calling for mandatory human rights and environmental due diligence legislation, requiring companies to take legal responsibility for conditions across their supply chains.

In 2017, the Kering group announced its intention to reduce its emissions by 50 percent by 2025 through optimisation and offsetting. Nine years later, in 2026, the industry no longer aims to reduce its footprint; it is transforming carbon into a resource. This marks a paradigm shift, with fashion moving from the realm of textiles to that of Climate-Tech.

Historically, fashion has always been an extractive industry. Fibre is created by cultivating crops, felling trees, or pumping oil. The model emerging in the first half of 2026, as reported by Science et Vie, is driven by players like the Californian startup Rubi Laboratories. It proposes a more radical departure: industrial photosynthesis.

End of extraction: industrial-scale biomimicry

Where the Kering group was exploring alternatives like mushroom leather as early as 2017, Rubi Laboratories is now industrialising an enzymatic process capable of converting captured CO2 into high-purity cellulose.

Mechanism

By replicating the life cycle of a tree in modular bioreactors, the technology creates a lyocell (cellulosic fibre) without felling any forests.

Competitive advantage

Unlike previous innovations that required a complete overhaul of factories, this "air-made" fibre is compatible with existing spinning infrastructure. This interoperability is the key factor that has convinced 15 global giants, from fast fashion (H&M) and accessible luxury (Ganni) to outdoor wear (Patagonia).

Venture capital redefines value: from brand to infrastructure

The analysis of financial flows in the first quarter of 2026, marked by a total volume of 620 million dollars raised, confirms a paradigm shift. Fashion is no longer valued by the markets as a simple retail business, but as a genuine technology sector.

Venture capital funds are now shifting their focus from brand image and wholesale margins to artificial intelligence, supply chain optimisation, and unit economics. This transformation shifts asset value from design and physical store networks to intellectual property and software infrastructure. Consequently, the most innovative fashion companies now benefit from high valuation multipliers comparable to those in the SaaS or DeepTech sectors. This contrasts with the historically low multiples of this cyclical industry.

The investment of prestigious funds like Andreessen Horowitz (a16z) and Khosla Ventures, historical Silicon Valley "heavyweights", in promising startups such as Phia (AI) and Rubi (Climate-Tech) proves that profitability is no longer found in creating fleeting trends. It now lies in technologically solving the sector's structural inefficiencies, whether overproduction, traceability, or pollution.

Renewcell's crash: a lesson from the industrial "Valley of Death"

While the enthusiasm is real, the spectre of the Swedish company Renewcell (which went bankrupt in 2024 despite H&M's support) looms over the sector. The challenge for Rubi and its peers is not scientific; it is primarily logistical.

Price parity

To move beyond the "sustainable capsule" niche, CO2-textile must achieve price parity with conventional viscose.

Modularity

Rubi's approach of using deployable units where CO2 is emitted seems more resilient than the centralised giant factory model that led to Renewcell's downfall.

Prospective analysis: towards a "decentralised fashion"?

The evolution from Kering's 2017 plan to the 2026 funding rounds shows a shift from responsibility to resilience.

2017 was about measurement. With its EP&L tool, Kering measured the damage to better limit it. At that time, sustainability was seen as a necessary cost centre and a major reputational issue. The primary goal was to offset existing impacts.

2026 is about change. Sustainability is now becoming a profit centre. Companies like Quince (valued at 10.1 billion dollars) and Rubi are using AI and biotech to physically eliminate waste and virgin raw materials. It is no longer a constraint but the very engine of profitability.

Will tomorrow's "Fashion Score" be technical?

For executives, the implication is significant. The value of a fashion company in 2026 is no longer measured solely by the desirability of its logo, but by the intellectual property within its value chain.

The transition of CO2 from a "greenhouse gas" to a "raw material" could well mark fashion's entry into the era of bio-manufacturing. Brands that do not own or have privileged partnerships with these disruptive technologies risk being marginalised in a sector where regulation and the cost of virgin raw materials will become prohibitive.

A number of US retailers, including Walmart and REI, have signed letters of support for Unspun’s plan to build automated apparel manufacturing hubs in the US using AI-enabled 3D weaving technology.

The initiative aims to bring production closer to consumers at a commercial scale, supported by supply chain partners such as Bethel Industries, Peckham and PDS Ltd / GSC Link. Unspun is currently evaluating sites across multiple US states, with initial production expected in the near term.

Backed by more than 50 million dollars in venture funding, Unspun’s proprietary technology enables garments to be woven directly from yarn in minutes, replacing traditional cut-and-sew processes with a single automated system. The model aims to shorten production timelines from months to days, reduce excess inventory, and improve margins by limiting markdowns.

In a statement, Arne Arens, who was appointed CEO of Unspun in March, said: “We are not exploring whether domestic apparel manufacturing can work. We are building it. Our clients are looking for a new production model because they see the economics: manufacturing closer to the customer, responding to demand within the same season, and creating skilled American jobs in the process.”

Walmart’s VP, apparel production development, Avishnash Bhasker, added: “Our customers are proud to buy apparel made in America, and the demand keeps growing. We are excited about Unspun’s commitment and effort in helping rebuild domestic manufacturing capability that is faster, smarter, and designed for how customers actually shop.”

Students at LIM College are preparing to stage the institution’s 81st annual student-produced fashion show, bringing together established designers and emerging talent under a global theme.

The event, scheduled for April 10 at The Glasshouse in New York, will centre on “Global Fashion Fusion,” exploring how diverse cultures and international influences shape contemporary fashion. The show will feature seven scenes combining student styling, graduate collections and established industry names.

Designs by students in New York will be presented alongside work from graduates of ESMOD in France, while pieces by designer Nicole Miller will also appear in a dedicated runway segment. The production marks a trans-continental collaboration between institutions within the Japan Educational Foundation network.

The student-led show will also include styling scenes using garments sourced through Amazon Fashion, as well as additional segments featuring independent brands and alumni designers. The event is organised entirely by students, who oversee styling, production, marketing and event coordination as part of a hands-on learning experience.

Organisers say the format aims to provide practical industry exposure while highlighting emerging talent alongside established professionals, reflecting the growing emphasis on experiential learning in fashion education.

A US district court has denied attempts by Abercrombie & Fitch, operating as Hollister, to compel arbitration in a consumer lawsuit alleging deceptive pricing practices, allowing the case to move forward as a potential class action.

The lawsuit, filed with the US District Court of the Southern District of California, centres on claims that Hollister misled consumers through “strike-through” pricing on its website, displaying higher reference prices that allegedly did not reflect genuine prior prices.

The plaintiff, Rebeka Rodriguez, purchased a T-shirt for 6.99 dollars that was advertised as discounted from 14.95 dollars, arguing that the higher price was artificially inflated to create the appearance of a deal.

The complaint was brought under California consumer protection laws, including false advertising and consumer remedies statutes, and seeks to represent a broader class of shoppers who purchased discounted items under similar conditions.

In its ruling, the court rejected the retailer’s effort to move the dispute into arbitration, finding that customers were not given sufficiently clear notice that completing a purchase would bind them to arbitration terms. As a result, the court also denied motions to dismiss the class claims and to stay the proceedings.

The decision keeps the focus on the underlying allegations of deceptive pricing, a practice that has faced increasing scrutiny across the retail sector. Cases typically determine whether reference prices reflect actual, recent selling prices or are used primarily as a marketing tactic to drive conversions.

With arbitration denied, the case against Hollister will proceed in court, potentially increasing legal exposure for the retailer and adding to ongoing regulatory and legal pressure around promotional pricing transparency in e-commerce.

In fashion, a brand’s influence is shaped as much by the images it synthesizes as by the stories it negotiates. From the visual codes that define a high-fashion collection to the cultural conversations unfolding across digital ecosystems, fashion has evolved into a language of imagery, narrative and strategy. As the industry becomes increasingly driven by visual storytelling and radical transparency, pedagogical frameworks are evolving to meet these shifts.

To explore how fashion education is responding to these global currents, FashionUnited spoke with faculty leads Renee Jablonski and John Philip Eccles from Istituto Europeo di Design (IED). In September 2026, the institution will broaden its portfolio with two English-taught programmes: BA (Hons) Fashion Styling at the Barcelona campus and BA (Hons) Fashion Marketing and Promotion in Madrid. This expansion reflects IED’s strategy to strengthen its international undergraduate offer in Spain and respond to growing demand for professionals who can move fluidly between fashion’s creative and commercial dimensions.

Developed in collaboration with the University of Westminster, these programmes allow students to obtain a UK BA (Hons) qualification while immersed in Spain’s creative hubs. The Barcelona programme is validated by the London-based university, while the Madrid degree is awarded by it; a strategic expansion that strengthens IED’s identity as a global academic leader.

Styling: the architecture of the visual narrative

Despite their growing influence, dedicated undergraduate training for stylists has historically been limited, with many professionals entering the field indirectly through design or editorial work. For Jablonski, whose professional path spans retail, brand management and styling for film and commercial productions, the new Fashion Styling programme responds to a significant shift. “Stylists have become the image-makers of fashion today,” she explains. “They collaborate with photographers, filmmakers, designers and marketing teams to create the visual narratives that define how brands are perceived.”

The three-year curriculum explores fashion imagery through a multidisciplinary lens. Students progress from the technical foundations of image creation to the production of advanced fashion films, while engaging with cultural semiotics and art history to ensure they are not just assembling looks, but crafting imagery that resonates within a socio-economic context. “It’s not only about putting together looks,” Jablonski says. “Students need to understand the social, cultural and economic context of fashion in order to create imagery that carries meaning.”

Through workshops, media labs and project-based learning, students build a professional portfolio reflecting both conceptual depth and technical skill. “In such a saturated visual environment, developing a distinct creative voice becomes essential,” Jablonski adds. “That spark of individuality is what allows creatives to stand out.”

Marketing and promotion: negotiating shared meaning

At IED Madrid, the focus shifts to the strategic dimension of the industry. John Philip Eccles, whose career spans international fashion weeks and senior creative leadership roles, positions the BA (Hons) Fashion Marketing and Promotion as a framework for understanding contemporary brand communication. “Brands no longer sit above culture, projecting messages outward,” he says. “They exist inside culture, where audiences interpret, question and reshape what they see.”

The programme emphasizes authenticity and storytelling over linear advertising. Through project-based learning and industry-aligned briefs, students learn to balance creative ambition with commercial viability, working within budgets and timelines without losing the “romance” of a brand’s vision.

The curriculum progresses from foundational marketing principles to specialised modules in digital content ecosystems and reputation management. An optional industry placement year ensures graduates develop the “strategic clarity” required to position themselves within the professional landscape, with career paths ranging from brand strategy to content development and digital marketing.

A global classroom for ‘off the board’ candidates

A defining feature of both programmes is the presence of practitioner-educators, keeping students closely connected to the industry’s zeitgeist, what Eccles, referencing Karl Lagerfeld, describes as a “well-timed Swiss watch” of fashion relevance. Collaboration is central, with students working on real-world briefs in an international environment. Barcelona and Madrid offer complementary contexts: a design-led Mediterranean hub and a dynamic European business centre, forming a “mixing pot” of perspectives.

IED seeks “off the board” candidates: curious, driven and unafraid of ambiguity. As Eccles notes, being misunderstood can often signal originality. The programmes are designed for those ready to navigate the intersection of art, history and commerce, graduating as architects of identity. As he concludes: “Our role is to help students understand how the romance of creative direction bridges with the reality of the market. Only then does the work truly resonate.” Jablonski adds: “Through this experience, students will find their own direction and gain the knowledge to adapt to today’s industry, giving them an opportunity my generation never had.”

Shoe brand Minelli has once again been placed into administration, two and a half years after a similar procedure led to the brand's acquisition, according to a court document seen by AFP, confirming a report by L'Informé.

Minelli had been in a safeguarding procedure since September, which was converted into administration in March by a ruling from the Paris commercial court. This decision means the company is now officially insolvent.

A fragile rescue in 2024

Founded in 1973, the leather goods and footwear brand had already been placed into administration in September 2023 by the Marseille commercial court.

It was then saved by a consortium of three buyers—investors associated with the clothing brand “Mes Demoiselles Paris”—who integrated it into a new entity, “Maison Minelli”. This structure is now facing difficulties after a six-month observation period during the safeguarding phase.

Persistent losses and an unprofitable network

The brand has so far failed to turn things around. It reported a loss of 3.7 million euros (4.27 million dollars) in its last published financial year (2024-2025).

According to the previous safeguarding ruling seen by AFP, “around ten of the stores taken over” by the new owners “are proving to be unprofitable”. The 2024 rescue also came at the cost of significant social restructuring, with the workforce reduced from 600 to fewer than 200 employees.

A sector in the midst of a domino effect

Minelli joins the growing list of fashion brands that have entered administration in France over the past two years, such as Claire’s, Jennyfer, Okaïdi and IKKS.

The sector is particularly suffering from the erosion of purchasing power and aggressive competition from low-cost Asian platforms, such as Shein or Temu, which are saturating the clothing and accessories market.

American luxury group Tapestry, the parent company of Coach and Kate Spade, has announced the appointment of Matt Madrigal to its board of directors. Madrigal, who currently serves as the chief technology officer of US visual discovery platform Pinterest, joins the board effective immediately.

The addition of Madrigal increases the board membership to 11, of which ten are independent directors. The move aligns with the group strategy to bolster its digital and technological capabilities as it seeks to deepen connections with younger demographics.

Strategic focus on digital growth

Tapestry chief executive officer, Joanne Crevoiserat, stated that the expertise Madrigal possesses across technology and customer experience at scale will be instrumental in driving the ‘Amplify’ growth agenda for the group. Crevoiserat noted that his background would assist the company in building emotional connections with the next generation of consumers globally.

Madrigal currently oversees engineering, product, and design at Pinterest, a platform that reaches more than 600 million monthly active users. His career includes significant leadership roles within the e-commerce and technology sectors, providing him with insight into how Gen Z and other younger consumers engage with brands in digital environments.

Technical expertise and industry background

Before joining Pinterest, Madrigal served as vice president and general manager of merchant shopping at technology company Google. His professional history also includes tenures as chief technology and product officer at US sports retailer Fanatics and senior vice president of e-commerce and marketing for home retailer Williams-Sonoma.

Madrigal also spent eight years at e-commerce firm Ebay, where he led product and engineering for growth marketing and advertising technology. Anne Gates, chair of the board of Tapestry, highlighted that his track record of scaling global consumer platforms would bring a valuable perspective to the board as the group aims to drive long-term shareholder value.

Upon his appointment, Madrigal noted that his contribution comes at a time when artificial intelligence is transforming brand-consumer interactions. He expressed his intention to apply his experience to help Tapestry drive innovation and sustainable growth through enhanced consumer engagement.

More than almost any other fashion week, Shanghai demonstrates how the trends of tomorrow become relevant through a country's cultural heritage. The autumn/winter 2026 collections of many emerging labels were particularly compelling because they were as rooted in the zeitgeist as they were in history. The city, too, continues to serve as a testing ground for global corporations, from Adidas to Maison Margiela.

Between metropolis and mythology

The fashion scene in China is still relatively young. About ten years ago, independent designers began building their own brands and fan bases, some after studying at renowned fashion academies abroad. Unlike established fashion houses, they do not consult an archive or have to follow a certain heritage code. Instead, they take their cues from global catwalks and adapt trends quickly.

Recently, designers have increasingly managed to incorporate influences and a visual language rooted in local traditions. This unique touch makes their collections not only locally relevant but also more attractive to a wider audience.

Shanghai Fashion Week distills something singular: the elegance and cool that can only emerge from the dynamic friction of East and West, season after season.

The subtle collection by the label Samuel Gui Yang, which showed off-schedule again during fashion week, was certainly one of the most remarkable in this regard. With looks poised between dream and reality, myth and metropolis, models walked the catwalk concealed under a canopy, wrapped in an orange silk blanket or a white feather cape. The boundaries between East and West blurred between denim, Chinese frog buttons, clean-cut coats and flowing silk fabrics.

The label Ao Yes, founded four years ago, also seems to have found its formula. The seemingly demure and therefore chic looks appeal to a hyper-urban clientele from China's major cities with their clever to ironic play on classic cultural symbols. This season, a stylised orchid was a recurring motif. It appeared as a mini-print on knee-length skirts, as embroidery on cardigans, or as appliqués on a blazer and skirt ensemble.

Ultrafeminine styles

Another recurring trend at Shanghai Fashion Week is ultrafeminine fashion. The label Shushu/Tong presented looks that blended school uniforms with 1930s glamour for Shanghai's bourgeois, cheeky Lolita.

The designs of Jacques Wei were rather reminiscent of the elegant ladies of decadent 1920s Shanghai, who swore by Parisian chic but added their own touches. French influences were also evident in the collection of designer Xu Zhi. Leather, lace and flowing fringes were intended to evoke the bohemians of the Rive Gauche in the late 1960s.

Designer Susan Fang has developed a distinctive language of ethereal gowns whose weightlessness could have been inspired by the celestial creatures of Chinese mythology. For the FW26 season, her signature dreamy dresses made of transparent fabrics were complemented by garments with bows in a variety of designs.

Labelhood or brand activation at its finest

visually arresting and culturally grounded — authentic without sacrificing edge. This sensibility extended well beyond the catwalks. Labelhood, an incubator, retail space, and runway platform for emerging labels during Shanghai Fashion Week, offered one of the season's most compelling examples.

Each season, Labelhood launches a campaign for its festival, which includes events for fashion enthusiasts in addition to catwalks and showrooms. All shows organised by Labelhood, such as those by Oude Waag, WMWM or Swaying Knit, are held twice: once for a professional audience and once for fans and fashion enthusiasts.

The platform's accessibility is central to its mission — nurturing genuine appreciation for emerging designers rather than merely catering to industry insiders. Season after season, impeccably styled devotees turn out in force for both the shows and the wider fashion festival.

The festival campaign has quietly become a masterclass in locally resonant brand activation. For FW26, a slogan in Chinese calligraphy — "Take a Leap" — met a photoshoot steeped in retro sensibility.

In keeping with the theme, Labelhood simultaneously launched a trainer inspired by Chinese craftsmanship in collaboration with the US footwear company Nike. The black Shox Z Calistra is seen on the models in the campaign and presented as a pop-up in the Labelhood store. The concept holds because the shoe earns it: the inspiration behind the trainer carries a narrative with genuine weight.

“The core of this design lies in the interpretation and elevation of cultural symbols,” Labelhood said in a statement. “The design team captured the essence of the masterful black pottery technique from China's late Neolithic period, using a special patent leather process to replicate the deep black colour and warm lustre created by the fire of the kiln.”

The shape of the lace fastening is inspired by the lattice windows of the Jiangnan region. The collaboration is presented in-store, set against black pottery and the Chinese lucky colour red, which is found inside the shoe and in the Nike logo. It is this translation of a classic aesthetic into contemporary form that gives the shoe its particular appeal — culturally grounded, yet made for everyday wear.

Fashion week as a testing ground

Nike aside, the fashion week drew other world-renowned brands equally intent on experimenting with new formats.

The fashion house Maison Margiela showed in China for the first time, marking the start of an innovative dialogue with the Chinese audience with its show. To conclude Shanghai Fashion Week, creative director Glenn Martens invited guests to a container port, where the ready-to-wear and couture collections, inspired by a Parisian flea market, were shown together.

Immediately after the show, a 12-day series of exhibitions followed in four different Chinese cities. The dialogue with the audience was carefully crafted. On the catwalk, the very first looks hinted at a significant Chinese cultural technique, with models resembling porcelain figures in their couture dresses of gazar fabric covered with many layers of organza and matching masks.

The venue for the second exhibition in Beijing, a Peking Opera house, was also aptly chosen in view of Margiela's theme of anonymity and masks. The move by the label, which belongs to the Italian fashion group OTB, follows the strategies of other luxury houses that have recently focused heavily on localisation in their campaigns to win customers. It is also a signal of the Chinese market's maturity — one now receptive to a house like Margiela, whose appeal has always resided with the connaisseur.

The sporting goods company Adidas also invested in the Chinese market with a three-day event on the historic grounds of the Xintiandi Laguna primary school. In addition to a fashion show, there was a retro football market and an exhibition featuring an archive of World Cup jerseys from the Herzogenaurach-based company.

Next wave

The Shanghai fashion scene is also already working on the future of its emerging designers. With the “New Wave Fashion Awards”, the Shanghai Fashion Designers Association presented awards for the first time that recognise a 360-degree vision from designers.

The “New Wave Fashion Awards” are not seen as a one-off competition, but as a long-term project to promote multi-talented creative individuals in the fashion industry. Creative personalities are judged by more holistic standards, and the aim is to open up more comprehensive paths for the innovative development of Chinese designer brands, according to a statement.

The six finalists had to present a site-specific project at locations in Shanghai from March 25 to 30 that went beyond a mere fashion collection. A systematically creative approach was required to build an immersive brand experience for consumers.

Designer Gong Li, for example, created a bed installation for his label 8NO8, in keeping with the whimsical city kids who populate his collections. In the end, however, others prevailed. The label Motoguo took home the ‘Future Force Award’, and Chen Sifan won the ‘Public Impact’ Award.

The main prize, the “Visionary of the Year Award”, went to designer Feng Chen Wang. She hosted a pop-up store in the historic building of a British tea trading company in Shanghai to mark the tenth anniversary of her label. In her collections, Western streetwear influences meet traditional plant-dyeing techniques, and the rooms of the building also reflected the constant dialogue between East and West. She also added a personal touch by referencing the tea from her home province of Fujian, which was served as a drink at the pop-up.

It was a landmark week for Wang — who marked her tenth anniversary with a womenswear launch at Shanghai Fashion Week, having previously shown her menswear in Paris. She also presented a fashion show in collaboration with the tech company Apple during the fashion week.

“The recognition contributes to visibility and strengthens the brand,” she said of her award via email. Looking to the future, the next step for her is to find the right balance.

“Creativity remains at the core, but we also need to grow in a more holistic way, creatively and commercially, and build something sustainable,” said Wang. “Personally, I want to stay curious, keep learning and constantly evolve.”

The autumn/winter 2026 season has concluded, leaving an unexpectedly quiet echo. After several cycles marked by sensational debuts from new creative directors and a near-constant rotation at the helm of luxury fashion houses, a calmer phase is now emerging. Many designers seem to have settled into their roles. This is reflected in collections that feel considered, are precisely executed and place a stronger focus on the craftsmanship and design quality of clothing.

This newfound clarity contrasts with a tense global context. The fashion season took place during a period of ongoing conflicts in Iran and the wider Middle East. The simultaneity can be jarring at times – an industry thriving on creativity set against a backdrop of geopolitical instability. The stance of many brands, which consciously opted against spectacle or provocation, is all the more remarkable. Instead, restraint defined the mood.

Wearability became a central theme without appearing arbitrary. Minimalist approaches remained present, yet were further refined and reinterpreted. Eveningwear found its way into daily life, while silhouettes were pared back without losing their expressive power. The tension was created primarily in the details. Jewellery-like elements elevated even understated looks, and a complex interplay of patterns, materials and surfaces added extra depth. The result was a season that sought balance while consciously leaving room for individual interpretation.

Key trends of the autumn/winter 2026 season from the ‘big four’

Checks

Checks are one of the few trends that effortlessly oscillate between tradition and subculture. Their historical roots and close connection to tartan and kilts are matched by an equally strong foothold in counter-cultural codes. Autumn/winter 2026 once again highlighted this versatility, not only in the looks themselves but also in the range of fashion houses working with them.

While Burberry is traditionally associated with checks and Daniel Lee consistently develops them, they are not the most obvious stylistic choice for French brands like Chloé or Rabanne. This makes their interpretations all the more exciting. Chemena Kamali translated the pattern at Chloé into a modern, feminine version on a pussy-bow blouse, while Julien Dossena at Rabanne combined a checked skirt with a turtleneck and a playful lace blouse.

‘Everyday trains’

Trains have long been clearly assigned to eveningwear. This season, they are increasingly breaking free from this strict classification. While they have not yet fully arrived in everyday life, they no longer require a classic ball gown. Designers are integrating them into more contemporary silhouettes.

At Khaite, Catherine Holstein combined a transparent top with slim-fit trousers and extended panels of fabric, while Prabal Gurung created a similar effect with a glossy red top. Sandy Liang interpreted the trend more playfully, suggesting that trains could work in everyday life in the future.

Floral brooches

Brooches have been making a comeback for some time, but this season they appeared in a more multifaceted way. Chanel remained true to its iconic camellia, which appeared in a softer, more textured version on a tweed two-piece. At Dior and Simone Rocha, however, floral elements seemed to grow out of the looks. They sat on shoulders or hips, lending the silhouettes a new, almost sculptural dimension.

Faux fur

Fur remains a controversial topic, but it has not disappeared entirely from the runways. Instead, it is being reinterpreted, often in the form of faux fur or abstracted versions. Alessandro Michele at Valentino opted for dramatic, floor-length silhouettes, while Demna Gvasalia at Gucci referenced classic, almost cinematically inspired models. Fur, or its visual equivalents, thus remains a defining element of the season.

Gothic

Gothic is an aesthetic that never completely disappears, but continually reinvents itself. For autumn/winter 2026, it appeared less sombre and more soft and romantic. Transparent fabrics, lace and flowing silhouettes dominated. Erdem interpreted gothic with an almost monastic, long black dress, while Dreaming Eli achieved a fragile, almost theatrical effect with corsets and delicate lace. Ann Demeulemeester remained true to her signature style, presenting a more restrained, poetic version with ruffles and structured layering.

90s minimalism

The revival of 90s minimalism can be traced back to timeless style references like Carolyn Bessette-Kennedy, whose look is currently receiving renewed attention thanks to the TV series Love Story. Both contribute to the current fascination with clean, understated fashion. On the runways of the autumn/winter 2026 season, this was evident in slim, body-conscious silhouettes and muted colour palettes at several fashion houses.

Calvin Klein presented a classic slip dress with a square neckline that captured the essence of 90s restraint, while Alaïa focused on sculptural minimalism, showing a precise, figure-hugging outfit in neutral tones. Gucci offered a slightly more expressive interpretation, combining the minimalist silhouette with more dramatic styling. This is an example of how the look can move between pure minimalism and a more staged version of the 90s and even the early 2000s.

Velvet

Velvet emerged as one of the key textures of the autumn/winter 2026 season, underscoring this year's focus on tactility. The fabric, often associated with eveningwear and historical clothing, was reinterpreted on the runways in modern, clean and wearable silhouettes. Instead of appearing overly opulent, velvet was used with restraint this season, with an emphasis on cut, clean lines and intense, rich colours.

At Calvin Klein, creative director Veronica Leoni interpreted velvet through minimalist tailoring, presenting an elegant black velvet suit, while Ralph Lauren drew on the material's more classic associations, showing a long, flowing velvet dress. Alaïa, in turn, opted for a sharply tailored velvet suit in a deep burgundy.

Striking textures

Texture is one of the few design elements this season that goes beyond the purely visual, instead evoking an instinctive, tactile response. The autumn/winter 2026 season amplified this focus on tactility and depth, with designers using materiality to shape not just garments, but the entire mood of a look.

Louise Trotter for Bottega Veneta focused on bold monochromes, where saturated red and feathers created a silhouette that was both playful and imposing. Erdem, under the direction of Erdem Moralıoğlu, offered a softer counterpoint with a cocoon-like shape crafted in delicate, painterly textures. Givenchy, under Sarah Burton, took a more eclectic path, combining a densely textured coat with clean, striking accents.

Madrid – Inditex continues to advance its careful segmentation strategy for Zara with the opening of a new store in Berlin. The store is exclusively dedicated to showcasing and selling its menswear collection. This type of store was renewed and relaunched by the flagship fashion brand of the group, chaired by Marta Ortega, in November 2024. This followed the closure of all stores that had previously been exclusively dedicated to Zara's menswear offering.

Óscar García Maceiras, chief executive officer of Inditex, made this announcement on March 11. During the official presentation of the Spanish fashion multinational's accounts for the 2025 fiscal year, he revealed one of the company's main initiatives for the new year of 2026. The plan is to continue driving the growth of a network of dedicated stores for Zara's menswear collections. The chief executive officer of Inditex noted that these openings are not just part of the growth and expansion strategies for the group's various chains in key markets. Instead, they are initiatives designed to strengthen ties and energise connections with its growing customer community. This places the openings of this specific type of store squarely within the segmentation strategies of the group's largest chain by turnover, aiming to further fuel its growth.

“I will dedicate the next few minutes to sharing with you some of the main projects and initiatives for the year, which aim to continue strengthening some of the key elements of our business model, such as innovation, diversification and flexibility,” the chief executive officer of Inditex announced by way of introduction. Based on this framework, “we continue to innovate to improve the experience in our stores” in 2026. As part of this commitment, this year “we will continue to devise new ways of interacting with our customers”. Maceiras added, “in 2026 we will continue to explore exclusive menswear spaces, in line with the Zara Man stores we opened throughout 2025 in cities like Osaka”. Less than a month after these words were spoken, they have already taken on meaning with the inauguration of the first Zara Man store in Berlin.

With 700 square metres, and a separate entrance for Zara Athleticz

Located inside the central and always busy Mall Of Berlin shopping centre in the Mitte district of the German capital, the store is just a few hundred steps from symbolic city landmarks such as the Brandenburg Gate, the Memorial to the Murdered Jews of Europe, the Bundesrat and the historic Potsdamer Platz. The store has more than 700 square metres of retail space. This space is structured over a total of two floors and is accessed directly from inside the Berlin shopping centre.

Following the store concept that the chain has already implemented for this specific type of Zara Man establishment, the Berlin store space is “encapsulated” in different environments. After the concept's relaunch in Madrid in November 2024, it has already been implemented in cities and regions such as Zurich, California, Rome and Osaka. These open, interconnected atmospheres flow into one another. Zara's interior design and architecture team, responsible for the spatial concept of this Zara Man store in Berlin, has given a leading role to both the materiality defining each environment and the natural light. The connection between the interior and exterior of the store is enhanced by the glass façade and large openings through which the centre opens onto Leipziger Platz. This is a point in the city of Berlin where the centre has one of its entrances, right next to where this Zara Man store has opened.

Taking a (virtual) tour, the store opens to the public from the ground floor of the Mall Of Berlin shopping centre. It immediately showcases the design codes that distinguish its spatial concept, articulated under deep black ceilings and dark wood and glass frames, which contrast with the warm light and white walls dominating the different rooms. These spaces display Zara's formalwear and “Origins” line collections. The upper floor houses the more youthful Zara menswear lines, alongside a dedicated area for footwear, bags and other accessories, and another for the sportswear collections from the “Zara Athleticz” line. These spaces are differentiated from the rest of the store's environments through the use of light-coloured woods. For the Athleticz area, stainless steel is predominantly used for both decorative elements and display furniture. This materiality aims to accentuate an industrial aesthetic that aligns with the dynamic character of this Zara sportswear line. Its visibility and unique character within the chain's commercial offering are further emphasised in this store by providing an independent entrance connecting the Zara Athleticz area directly to the shopping centre, in addition to an internal connection with the rest of the boutique.

Beyond these spatial features and the varied commercial offering with which this latest Zara Man store has opened in Berlin, the establishment offers an integrated physical and online shopping experience, following the omnichannel model that Inditex's various fashion chains have adopted. For this purpose, the chain offers its customers services such as real-time inventory checks for the Mall Of Berlin store, in-store product location, and a two-hour click and collect service for online orders. The boutique is equipped with assisted checkouts, a specific counter for returns, and has implemented the latest energy efficiency technologies from the Inditex group through its connection to its internal Inergy platform.

“This new boutique marks an important milestone for the brand” in Germany as a whole, “by presenting an exclusive retail space for menswear,” Zara's management emphasised in a statement. “Designed by Zara's architecture studio, the store has been conceived to create a seamless and immersive shopping experience,” offering “a wide range of Zara Man collections, with dedicated sections for footwear and bags, as well as special collections like Zara Origins and Athleticz.” This is all set within a carefully curated atmosphere that “unfolds through a sequence of open and interconnected spaces, enhanced by an open façade that allows abundant natural light to enter.” “The design,” with its “series of differentiated spaces,” and “with its own identity,” they added, “reflects Zara's latest concept for ‘Zara Man’ boutiques, presenting a refined and contemporary environment where architecture, materials and product come together to offer a unique shopping experience.”

Strong commitment to the German market

While the opening completes the growing and specially curated retail network of exclusive Zara Man stores already open in Madrid, Zurich, California, Rome and Osaka, it also adds to the German market's retail network. At the close of the 2025 financial year, this network reached 128 stores. This figure is an increase of 16 stores from the 112 the group operated at the end of the 2024 financial year. The net changes throughout the year included stores from its chains: Zara (-1 store, to 61); Pull&Bear (+3, to 21); Bershka (+5 stores, to 24); Stradivarius (+7 stores, to 11); and Oysho (+2 first openings in 2025). Added to these are the stable store numbers for Zara Home (four stores) and Massimo Dutti (five stores). This leaves Lefties as the only one of Inditex's eight main chains still without a presence in the German market.

Madrid – Kick-starting the celebrations for the 37th edition of the 080 Barcelona Fashion catwalk, Barcelona is preparing to host the International Days of European Designer Fashion from Monday, April 13, to Tuesday, April 14.

European Designer Fashion Summit in Barcelona

Officially titled the "European Designer Fashion Summit," the event will take place at the Tinglados event space in the Port of Barcelona. Organized by the Fundación Academia de la Moda Española (FAME) and the Asociación Creadores de Moda de España (ACME)—a key member of the European Fashion Alliance (EFA)—the summit is designed as a hub for strategic reflection and institutional cooperation.

The initiative is supported by several major bodies, including the Spanish Ministry of Culture, the Generalitat de Catalunya (CCAM), and Gran Canaria Swim Week. Admission is free for industry professionals and stakeholders, though prior registration and confirmation are required.

“The summit proposes a transnational dialogue on the main challenges and opportunities of the sector, reinforcing fashion’s role as a key pillar within the European creative economy,” the organizers stated, noting the focus on digital transformation, ecological transition, and cultural redefinition.

A global program with over 20 industry experts

The two-day program features ten sessions—ranging from conferences and interviews to round tables—structured around two primary themes. The first day focuses on "Designer fashion as a hallmark of identity: characteristics and global impact," while the second day explores "Internationalization, digitalization, and sustainability as competitive advantages."

The summit will bring together a powerful roster of international leaders to discuss the heritage and future of the industry. Key participants include Carlo Capasa, president of the Camera Nazionale della Moda Italiana (Milan Fashion Week), Pascal Morand, executive president of the Fédération de la Haute Couture et de la Mode (Paris Fashion Week), Cecilie Thorsmark, CEO of Copenhagen Fashion Week, Scott Lipinski, president of the EFA and CEO of the German Fashion Council, and Pepa Bueno, executive director of ACME and VP of FAME.

Other notable speakers include French philosopher Gilles Lipovetsky, Dior Men’s head of sustainable design Natalia Culebras, and Regina Polanco, CEO of textile innovators Pyratex. The event will be hosted by designer Juan Duyos in his capacity as president of ACME and FAME.

Ultimately, the organizers aim to consolidate a shared European space for reflection, positioning designer fashion as a driver of cultural innovation, sustainable development, and "creative diplomacy." Through this inclusive platform, the summit intends to foster the strategic alliances necessary to navigate the sector's evolving global landscape.

Official programme of European Designer Fashion Summit, Barcelona 2026

In today’s digital era, where many brands are born and grow through social media, physical retail continues to play a strategic role in the fashion business. However, far from being an immediate step, opening a store usually responds to a combination of factors: brand identity, customer knowledge and an active community that supports that decision.

In Yucra’s case, this journey was not only defined by her development as a designer, but also by her connection to a family tradition deeply rooted in artisanal production in Peru.

This article is part of “The Do’s and Don’ts,” a FashionUnited editorial series that gathers insights from industry professionals to explore, from a practical perspective, the most common successes and mistakes in key fashion business decisions.

From online to physical retail

Yucra is a third-generation descendant of Indigenous women artisans. Her family built a textile business in Lima over several decades. After studying fashion in the United Kingdom, she returned to Peru in 2018 and joined the family business, initially with a more experimental approach. “The brand was my baby,” she recalls.

The designer went through different stages of commercial validation, where each instance functioned as a testing ground before opening her store.

Her first approach to physical retail came through a partnership with department store chain Falabella, where she worked under an unusual model: maintaining control of her production within her own workshop. This experience allowed her to understand key retail dynamics, such as product rotation and the importance of inclusive sizing, incorporating a broader offering from the outset.

She later developed a series of pop-ups over several years. These temporary spaces not only served as sales channels but also as opportunities to observe customer behavior: what they were looking for, how they shopped and what they needed from the physical experience.“Each pop-up gave us information,” she explains. From stock levels to spatial design, everything was gradually refined.

The role of community

The final decision to open a physical store did not come solely from a business standpoint, but from direct demand from her community.

“They were asking for a space to try on the garments,” she says. The digital experience was not enough: contact with the product and the brand universe required a physical environment. Another key factor was tourism. Many international clients traveled to Peru with the intention of purchasing her pieces, further reinforcing the need for a permanent retail space.

The Do’s

The Don’ts

What should be considered?

Opening a physical retail space involves integrating multiple dimensions, from brand identity to daily operations.

For Yucra, one of the key learnings was understanding that retail requires structure: stock control, sales systems, return policies and internal organization. Additionally, the store does not operate in isolation, but in dialogue with digital channels. In her case, the retail space helped centralize operations, improve logistics and organize inventory.

Another crucial aspect is choosing the right format. Not every brand needs to be in a shopping mall or large retail chain. Independent spaces, collaborations or non-traditional locations can be more aligned with a brand’s identity.

Real cases

Yucra’s journey shows that there is no single path to physical retail. From collaborations with major retailers to pop-ups, each stage provided concrete learnings that later translated into more informed decisions.

Her current store, located in a gallery on the traditional Petit Thouars street in Lima, functions not only as a retail space but also as a way of revaluing a historic artisan circuit. The space also creates a dialogue with its surroundings: visitors who come to the store often explore the area, integrating the shopping experience with its cultural context.

Key takeaway

Opening a physical store is not just a commercial expansion, but a natural evolution of the relationship between a brand and its community.

In summary:

Physical retail works when it is the result of a process, not the starting point. Annaiss Yucra’s final reflection encapsulates her experience: “Yes: I believe in my product—my product will find its place.No: I won’t put barriers on myself when it comes to finding my place in this world.”

Adriano Goldschmied, known as the godfather of denim, has passed away today in Castelfranco Veneto at the age of 82. He was known everywhere for the brands he created and for his commitment to sustainability in the denim industry. A true gentleman with a kind manner, Goldschmied was always willing to share his vast knowledge in the field of denim and innovation. He died at dawn in the Castelfranco hospital after a long illness.

Adriano Goldschmied passes away

FashionUnited interviewed him on March 23 and he spoke, with his usual generosity and passion, about the many projects he was pursuing in the field of denim innovation.

He is survived by his wife, Michela, and his daughters Glenda and Marta.

Adriano Goldschmied, born in 1944 in Ivrea to a wealthy Jewish family from Trieste, and had worked in the sector for over fifty years. He created brands such as Goldie, A Gold E, Diesel, Replay, Gap 1969, Ag Adriano Goldschmied and GoldSign, to name just a few. His successes also include the invention of the stonewash technique; experimenting with and using Tencel fibres; the creation of super-stretch denim; and pioneering sustainable methods as early as the nineties.

Goldschmied was a member of the Council of Fashion Designers of America (CFDA). In recent years, with Daily Blue and House of Gold, he divided his time between Italy and Los Angeles. The creative side was based in the Veneto region of Italy, while the operational side was in Los Angeles, working on the design, production and distribution of high-quality denim-inspired fabrics.

On the FW 26 runways, designers showed a renewed interest in the bold silhouettes of the 1980s, reflecting a broader shift toward statement dressing. The decade’s defining styles, jewel-toned colors, strong shoulders on blazers and blouses, and the little black dress for evening, conveying female confidence and authority. Embellishments, like bows, were similarly oversized.

These looks tap into a type of power dressing originally popularized by Thierry Mugler, Claude Montana and Azzedine Alaïa among others. By using innovative fabrics and fresh accessories, designers kept the looks modern and up-to-date.

Balmain FW26 by Antonin Tron

Look 8: a deep teal-colored, high-neck midi dress featuring long sleeves and an intricate knot and drape detailing at the waist.

Costelloe FW26 by William Costelloe

Look 30: a light brown lightweight silk turtleneck with exaggerated, structured shoulders and draped-front Irish wool tweed pants in windowpane checks, buttoned at the ankles.

Luisa Spagnoli FW26 by Nicoletta Spagnoli

Look 34: a royal blue viscose-blend satin jumpsuit with prominent, sculpted shoulders and a deep V-neck wrap front, cinched with a black belt.

Mugler FW26 by Miguel Castro Freitas

Look 16: a high-neck, long-sleeved satin blouse featuring a purple "V" shape on a magenta background with wide, architectural shoulders and high-waisted, pleated stirrup pants in taupe, cinched at the waist with a wide black leather belt.

Christian Siriano FW26

Stella McCartney FW26

Look 24: a silk magenta-colored mock-neck blouse with long sleeves ending in oversized, contrasting navy blue cuffs and high-waisted navy-blue stirrup pants.

Valentino FW26 by Alessandro Michele

Look 2: a fuchsia pink jacket featuring padded shoulders, a deep, plunging V-neckline and a pleated fan style embellishment over a black lace top with a matching slim-fit, midi-length pencil skirt.

Dolce & Gabbana FW26

Look 40: a black pinstripe wool-blend one-button blazer with a heavily cinched waist over a shirt and tie and matching relaxed-fit pants.

Giada FW26 by Gabriele Colangelo

Look 19: a grey sweater featuring bold, architectural shoulders with a cream-colored, asymmetric skirt with a distinct elongated train, sheer black hose and cream-colored pumps.

No. 21 by Alessandro Dell'Acqua

Look 4: strapless knee-length black cocktail dress featuring an oversized bow that extends from the waist to the hip with black and silver spectator pumps.

As tulips begin to bloom in the valleys and trees start to bud, the winter high season returns to the mountains. At Easter, snow enthusiasts travel to the mountains one last time to enjoy the final runs of the season.

What is the current state of the ski and snowboard market? For decades, the health of the industry could be reliably gauged at the Ispo sports trade fair in Munich, which was long dominated by winter sports. This has changed significantly in recent years. The number of exhibitors in this category has decreased year after year. The large mega-booths of market leaders have given way to smaller formats, until hardly any brands remained and hardware almost completely disappeared. Has the industry already bowed out in the face of rising temperatures due to climate change?

Ski market is growing

“It is not as many always claim: ‘There is no more snow, and therefore people are not skiing as much’. That is not true,” contradicts Hans Taubenberger, founder and managing director of the German premium ski label Toni Sailer Sports. Martin Lien, chief commercial officer at the Norwegian freeski and outdoor provider Norrøna, even identifies a “growing interest in skiing in many countries”.

Intersport Austria, for example, reported an “exceptionally positive” winter business for 2025/26 in its January interim report, with a 6 percent increase in turnover year-over-year. The driving forces were ski rental (up 12 percent) and the sale of skis and ski boots (up 22 percent). Alpine winter sports are therefore not in decline, but are undergoing a profound reorganisation or a “phase of renewal”, as Stefano Saccone, brand president at the Swedish ski and outdoor brand Peak Performance, puts it.

Transformation of the ski market

What exactly is being reorganised? A look at the ski regions provides some insight. “Skiing has become extremely expensive in recent years and is affordable for fewer and fewer people,” explains Hans Taubenberger of Toni Sailer. A ski pass now costs between 50 and 100 euros per day per person. This is in addition to increased accommodation and food costs, as well as the cost of equipment.

Fewer people and families can or want to afford a ski holiday. Skiing is therefore losing its importance as a mass sport and family event. It is increasingly positioning itself in the premium segment with greater internationalisation and a growing focus on affluent target groups.

Additionally, the sport is increasingly shifting to high-altitude, snow-sure destinations such as Zermatt, St. Moritz or Lech Zürs am Arlberg. These locations combine several success factors: reliable snow conditions despite climate change; continuous investment in infrastructure; and a diverse range of experiences that extend far beyond skiing, from luxury hotels and culinary offerings to high-end retail. The latter is now often located directly within luxury hotels.

Smaller, lower-altitude ski resorts, on the other hand, face a long-term threat to their existence due to a lack of guaranteed snow, the high cost of artificial snowmaking and a lack of investment. Growth is therefore no longer driven by volume but by value.

Retail is also restructuring

This shift is clearly visible in retail. “The number of retailers in the lowlands has changed significantly,” Taubenberger continues. “In medium-sized towns and outside of ski resorts, there are fewer and fewer retailers buying skiwear.”

While the company supplied around 20 retailers throughout Germany a few years ago, today it only serves the five major key accounts, such as Sport Schuster in Munich and Breuninger in Stuttgart. At the same time, turnover has clearly shifted: Toni Sailer Sports now generates 80 percent of its turnover in ski resorts and only 20 percent in cities. “There has been a major shift,” says Taubenberger. The growing e-commerce business is further reinforcing this trend.

Regional decoupling secures value retention

This development even has its advantages. Skiwear has long been out of sync with the seasonal rhythms of retailers outside of ski resorts. While the first markdowns are already happening in the lowlands before Christmas because the spring collections are about to arrive, the winter season is only just beginning in the ski resorts.

Shops in ski destinations have long complained about these distorted competitive conditions. This regional shift in the retail structure makes it more likely that ski products will retain their value for longer. The aim, however, remains to deliver the goods as early as possible.

Taubenberger says: “We deliver very early. The goods are available at the beginning of September.” He even calls the early delivery date a “secret to success”. In high-altitude areas, the ski season often starts in the autumn, or skiing is even possible all year round thanks to glaciers. Those who already have new stock in their shops at that time can build up a good turnover cushion right at the start of the season.

“We had a cold snap at the end of September and sold well. That immediately creates a positive atmosphere,” he reports on the course of the current season.

New competitors reflect market attractiveness

The continued appeal of the ski market is demonstrated by the many fashion brands that now regularly present ski capsule collections. These range from luxury houses like Louis Vuitton, Prada and Dior to the fashion retailer H&M. Other brands collaborate with ski legends, such as Ferragamo with Alberto Tomba, or open their own stores with ski capsules in ski resorts, as Loro Piana recently did in Cortina d’Ampezzo.

Hans Taubenberger, whose company is currently celebrating its 20th anniversary, welcomes this competition. “When such brands invest in ski collections, it shows that it is an interesting segment. We are relaxed because we are much more functional and have many years of experience.”

Other ski brands share this view. Stefano Saccone of Peak Performance says: “The more brands that enter this area, the more the relevance of the segment is underlined.” He is not so much talking about fashion brands entering the ski market, but rather about a growing differentiation within it.

“While traditional brands continue to shape the industry, we are seeing an influx of newcomers, especially in piste skiing, who bring a fresh aesthetic and tap into the growing, lifestyle-oriented consumer base.” It is precisely this increasing number of newcomers he is referring to when he speaks of “the phase of renewal” mentioned earlier.

Differentiation of the sport

This specialisation and the emergence of new brands originate from within the sport of skiing itself. Martin Lien of Norrøna elaborates: “We often talk about the ‘strong ski culture’ with which we identify. In reality, however, we encounter a multitude of different subcultures, each with its own interests, perspectives, identity markers, opinions, desires, needs and visions.”

There are elite athletes; ski touring enthusiasts, with and without ice axes or crampons; classic piste skiers; snowboarders; freeskiers; and those who like to take the lift to the summit but then hike 200 vertical metres with skins before descending back into the valley through deep powder. They all have different technical requirements for their clothing, which sometimes needs to be as light and breathable as possible, and at other times, such as when riding a lift, requires more insulation.

And to design. Even the pioneering snowboard brand Burton, which revolutionised skiing in the late 1970s with the commercialisation of the snowboard and reinvented it for a young target group, recognises this evolution and creates its own lines for new audiences.

“Our designs are driven by how riders want to look and feel. An example is our [ak] line (named after Alaska), which became a standalone collection in 2000 to provide our top big-mountain riders with super-technical gear. [ak] was born out of necessity: riders pushing deeper into the backcountry needed technical gear with an added style that represented them as snowboarders,” explains Mike Gratz, creative director of product at Burton Snowboards.

Back to nature as a counter-trend

Ultimately, the increased interest in off-piste skiing can also be seen as a reaction to the traditional ski world. Those who are no longer willing to pay high prices for lift passes every day and want to escape the classic ski scene on the pistes are looking for alternatives, and finding them away from the groomed slopes.

“Skiing in untouched snow has always been the holy grail of the ski world, but it is now more popular than ever. The queues at the lifts in popular ski resorts are getting longer, and the prices for lift passes are rising. This, combined with a general trend of seeking peace and harmony in nature, clearly shows that backcountry skiing in its many forms will continue to grow in popularity,” says a convinced Martin Lien of Norrøna. Norrøna therefore not only supports its target group with the right equipment but also offers guided tours to untouched, spectacular ski areas in Norway and many other countries.

The backcountry thus becomes the antithesis of classic ski tourism: less infrastructure, less consumption, but more personal responsibility, natural experience and authenticity. It is also “in many ways the opposite of the digital world,” adds Stefano Saccone of Peak Performance. In all its different forms, from freeriding to ski touring, this area is developing into a dynamic segment of winter sports.

Olympics: a showcase for the sport

The question remains as to whether and how the Winter Olympics in February contributed to the interest in skiing. From the perspective of ski brands, they play an important role in the visibility and emotional appeal of winter sports.

“Major international events are incredibly important to us, not just as a company, but for the sport of snowboarding as a whole. Every four years we have a unique opportunity to show the world what it really means to be a snowboarder,” says Mike Gratz of Burton. “They are an international celebration and a showcase for winter sports,” adds Martin Lien of Norrøna, even if this can rarely be measured in concrete sales growth.

The fashion industry also used the Winter Olympics to put itself in the spotlight, much like it did at the 2024 Summer Games in Paris. Numerous collaborations and sponsorship deals with teams and top athletes show how much fashion companies now see sport as a stage, and the extensive media coverage of the athletes' outfits proves them right.

It is therefore unlikely that winter sports will prematurely succumb to climate change.

The international fashion industry is paying attention. From Europe to Asia, global fashion gatekeepers are opening their doors to OC Fashion Week® — recognising The Luxury Market of California® not as an emerging voice, but as an established force on the world fashion stage. Orange County commands an "$86 billion retail market — a figure that places it on par with the spend of the world's most celebrated fashion capitals. The difference? Those capitals are cities. Some are states. Some are countries." Orange County is a county. And they are not Los Angeles. Nor do they require them. The world is looking inward at them.

Orange County, CA — March 25–28, 2026 — OC Fashion Week® — The Luxury Market of California® — concluded its most ambitious and celebrated season to date, delivering a four-night multi-venue production across Catalina Island, Laguna Beach, Newport Beach, and Tustin that redefined what a California fashion week can be.

OC Fashion Week® 2026 is currently approaching over one million views across Instagram — a testament to the cultural resonance of a season that was built not just for the room, but for the world.

This season, OC Fashion Week® made history through a deliberate and groundbreaking decision to open a dedicated category space for reclaimed and recycled fashion on the luxury catwalk — the first California fashion week to do so. International and iconic talent converged on Southern California, collectively creating a viral buzz of produced work that reverberated far beyond the runway. The calibre of designers, partners, and community leaders who chose OC Fashion Week® as their stage sent an unmistakable message to the global fashion industry: Orange County has arrived — and it is not leaving. In 2023, OC Fashion Week® was recognised by the Council of Fashion Designers of America (CFDA) as a member of the CFDA Connects program — a distinction that confirmed OCFW's standing as one of America's most credible and forward-thinking fashion platforms.

The Season: California Fashion Week's The OC

Positioned at the heart of the California fashion calendar, OC Fashion Week® delivered a season that moved — literally and culturally — across four venues, four nights, and one defining vision.

March 25 — Casino Ballroom, Catalina Island The season opened at the iconic Casino Ballroom on Catalina Island — the breathtaking 1930s historical landmark standing twenty-six miles off the Southern California coast — producing the first runway show of the century held at this storied venue. To step onto that stage is to step into history. OC Fashion Week® became the first to bring the runway there in this century, cementing a moment that will not be forgotten. The night showcased Jesse J Collections (womenswear), the elegant Luna Fashion House, and the rising talent of Vanessa Lozada — three distinct visions united on one historic stage.

March 26 — Surf and Sand Hotel, Laguna Beach The season moved to the iconic Surf and Sand Hotel in Laguna Beach for Sunset at Six — a champagne toast and white cocktail affair hosted by the distinguished Dr. Karen Leong (@dr.karenleong) — where emerging designers showcased their work before Orange County's most influential tastemakers. The evening carried profound significance as Dr. Leong made her official announcement of the forthcoming Cup Couture Gala — a landmark fundraising initiative dedicated to supporting women living with breast cancer.

March 27 — My Sister's Closet & Well Suited, Newport Beach For the first time in OC Fashion Week® history, the Newport Beach flagship of My Sister's Closet and Well Suited — part of the Eco-Chic Consignments portfolio — was fully transformed into an official runway showspace. The evening's refined hospitality experience was elevated by the contribution of Brunch House OC (@brunchhouseoc), whose thoughtfully curated offerings set the tone for a night that would become one of the most talked-about of the entire season. Netflix talent and legendary California designer Adolfo Sanchez, presented by My Sister's Closet, delivered a landmark tribute to reclaimed furs to a standing ovation — a moment that confirmed what the industry had been watching: conscious fashion has permanently arrived at the luxury level.

A revival of recycled wear — worn with deliberate intention. A vindication of the norm. To find a style that chooses you, not the other way around. Models left having purchased their favourite looks straight from the runway.

Each season, OC Fashion Week® finds the leaders who truly thrive — not because of their titles, but because of their commitment to community. What differentiates them from the rest is not what they sell, but what they stand for.

"We've always believed fashion should feel inspiring, inclusive, and connected to the community. Hosting OC Fashion Week in our Newport Beach store allows us to celebrate personal style in a truly meaningful way." — Heather Zorge, CEO, Eco-Chic Consignments

March 28 — Ever Club, Tustin The final night belonged to Ever Club (@evermembersclub) — Orange County's most anticipated new exclusive luxury membership community — making its official debut before Southern California's most discerning tastemakers. International sensation Max Jenny opened the evening in an explosive burst of colour that set the tone for a night of pure spectacle. Diego Fashions, Kyle Denman in collaboration with Daisy Desert Jewelry, Stefan Miguel, and Kailani Fountaine each brought their singular vision to the runway. Jesse J Collections returned with a commanding menswear presentation. The OC Ballet Theater, featuring the artistry of Dmitri Kulev Classical Ballet, graced the stage alongside an exquisite jewelry showcase by VL Cepher — presented by Eco-Chic Consignments — the collision of movement, fashion, and fine jewelry producing one of the most visually arresting moments of the entire season. The incomparable Anna Gupta closed the entire season in an extraordinary standing-ovation finale that left the room without words.

To be rebellious with fashion. To reject the status quo. To find what is authentically yours — and wear it like a statement. That is the spirit OC Fashion Week® brought to the catwalk this season. And the world noticed.

A curated community with a deep appreciation for the arts, the intensity to pursue excellence, and the ambition to succeed in fashion — that is not the backdrop of OC Fashion Week®. That is its message.

Personal styling is just as powerful as a first-born collection.

"Personal styling is just as powerful as a first-born collection. Those with true style will find their way to My Sister's Closet — because individual style and self-validation are more valuable than any pre-marketed trend. There is nothing more vindicating than discovering that inner cause." — Kathryn Marino, President & Executive Producer, OC Fashion Week®

The Designers

OC Fashion Week® 2026 assembled a roster that spanned legacy, emerging talent, international reach, and human purpose.

March 25 — Catalina Island: Jesse J Collections opened with a womenswear collection that set the tone for the entire season. Luna Fashion House delivered elegance and precision. Vanessa Lozada announced herself as one of California's most compelling emerging voices. March 27 — Newport Beach: Adolfo Sanchez (Netflix), presented by My Sister's Closet, delivered the season's most talked-about showcase — a standing ovation tribute to reclaimed luxury.

March 28 — Ever Club, Tustin: Max Jenny ignited the final night with a vibrant, colourful opening that electrified the room. Diego Fashions brought bold vision. Kyle Denman (Project Runway, OWN) brought his mission of mentoring displaced youth directly to the runway — featuring his students alongside a collaboration with Emma Roberts of Daisy Desert Jewelry. Stefan Miguel and Ikaialani Fountaine each delivered standout moments. Jesse J Collections returned with a sharp menswear presentation. Anna Gupta closed the season in an unforgettable finale.

"I am immensely proud of my students' work. They have accomplished so much while still remaining true to themselves. As young designers, they have created something magical out of nothing. That is what makes them true artists. I am grateful to be their mentor and am grateful to be even a small part of their lives." — Kyle Denman, Designer & Mentor

The Team

The season was hosted and emceed by Jennifer LaBanca (@boosthydration), CEO of Boost Hydration. Friday night ignited with the dynamic duo of Melissa Locke (@iammelissalocke) — reality show hostess, reigning Mrs. California, and passionate supporter of Tree of New America (@treeofnewamerica) — and Simon Polito (@ThePolitoGroup) as co-hosts. Their chemistry, wit, and infectious energy kept the room electric from the first moment to the last. Simon returned on Saturday night to close the final evening with the same commanding presence.

Houri Guldjian (@babethestudio), CEO of Babe Studio — Orange County's premier yoga and hot Pilates destination — took to the catwalk, bringing the world of wellness and movement into the heart of the OC Fashion Week® experience.

Backstage beauty was led by Jimmy Salazar (@jimmysalazar), Master Stylist and Kérastase Educator, alongside Sarah Hodson (@sssnack) of NARS Cosmetics — all under the banner of Aly Rose Beauty (@alyrosebeautyteam). Jimmy also mentored a cohort of students from Saba Beauty School and Academy (@sababeautyschool_ | @sababeautyacademy) — giving the next generation of beauty professionals a world-class runway education alongside one of California's most prestigious productions.

"An impactful community isn't built on proximity, but on purpose — where shared passions ignite collaboration, differences strengthen perspective, and every voice moves the collective closer to something greater than any one person could ever achieve alone." — Henry Nguyen, Saba Beauty School and Academy

Bronzd by Kara (@bronzdbykara) added a luminous finishing touch to the model beauty programme. Entertainment sponsor DJ Word of Mouth Project OC (@wordofmouthprojectoc) closed Friday and Saturday nights with next-level energy that elevated the entire production. OC Fashion Week®'s television series Behind the Seams re-airs in late April on LATV.

OC Fashion Week® as a Business Launch Platform

Beyond the runway, OC Fashion Week® has established itself as one of Orange County's most powerful platforms for new business launches — connecting emerging brands with the region's most influential audiences at the moment that matters most. This season welcomed Face Foundrie Newport Beach (@maral.facefoundrie | @facefoundrie), founded by Maral — entrepreneur, mother, and passionate advocate for accessible luxury skincare.

"As a busy mom of two, I know how rare and meaningful 'me time' truly is. My goal is simple: to create a place where you feel welcomed the moment you walk in, supported throughout your service, and confident and refreshed when you leave." — Maral, Owner, Face Foundrie Newport Beach

Looking ahead

FashionUnited joins OC Fashion Week® as official global media partner — amplifying OCFW's reach to millions of fashion professionals across more than 100 countries. Since 2019, OC Fashion Week® has served as the official California conduit for Athens Fashion Week — and this May, one of OCFW's featured designers travels to Athens to represent California on the global runway, continuing a seven-year tradition of transatlantic fashion diplomacy that remains one of OCFW's most distinguished international credentials. Next up: OC Fashion Week® Swim Week, May 2026 — California's most anticipated fashion moment of the season.

Official 2026 Sponsors & Partners

OC Fashion Week® gratefully acknowledges the following official sponsors and partners whose support made the 2026 season possible: @evermembersclub | @visitcatalinaisland | @boosthydration | @babethestudio | @dr.karenleong | @ThePolitoGroup | @mysistersclosetdotcom | @shopwellsuiteddotcom | @shopwellsuited | @maral.facefoundrie | @facefoundrie | @jimmysalazar | @alyrosebeautyteam | @sababeautyschool | @sababeautyacademy | @sssnack_ | @iammelissalocke | @treeofnewamerica | @bronzdbykara | @luna_fashion_house | @wordofmouthprojectoc | @oc_ballet_theater | @dmitrikulevclassicalballet | @vlcepher | @hauteoc

About OC Fashion Week®

OC Fashion Week® is the official fashion week of Orange County, California — The Luxury Market of California®. Produced by Hauteoc Holdings Global Ventures LLC, OCFW delivers runway productions, television programming, editorial media, and sponsor activations across domestic and international markets. In 2023, OC Fashion Week® was recognised by the CFDA as a member of the CFDA Connects program. Since 2019, OCFW has served as the official California conduit for Athens Fashion Week. Official global media partner: FashionUnited. Behind the Seams airs on LATV.

Orlando International Fashion Week (OIFW) has entered into a new partnership with the Orlando International Fringe Theatre Festival as part of the theatre festival’s 35th anniversary celebrations this year.

As part of the partnership, OIFW will host a showcase on May 16, 2026, within the Outdoor stage that will include avant-garde, futuristic, and experimental fashion designs that reflect the spirit and nature of the Fringe festival. The collaboration between the two organizations is in line with their shared broader goal of uplifting artists, fostering inclusive creative spaces, and connecting communities through the arts.

“Fringe and OIFW share a commitment to creating platforms where artists can take risks, express themselves freely, and connect with diverse audiences,” said Rob Henlon, Executive Director and Co-Founder of Orlando International Fashion Week, in a statement. “This collaboration allows fashion to live within a broader artistic conversation, which is exactly where it belongs.”

Designers are now invited to register for OIFW's Fringe fashion showcase, with submissions encouraged to reflect modern, edgy concepts, artistic storytelling, and bold, experimental design.

“This partnership is exactly what Fringe is about, bringing different art forms together in a way that’s inclusive, expressive, and community-driven,” continued Tempestt Halstead of the Orlando International Fringe Theatre Festival. “We’re excited to create space for fashion to be part of that story.”

Now in its 35th year, the Orlando International Fringe Theatre Festival is the longest-running Fringe festival in the United States. Held each May, it offers an unjuried, uncensored platform for independent artists across performance, visual art, and music, and returns 100 percent of ticket sales directly to the artists.

“As someone who serves on the board with both organizations, this partnership represents the best of what Orlando’s creative ecosystem can be,” said Dr. John Payne-Rios, OIFW Advisory Board Member and arts advocate. “It brings together fashion, theatre, and community in a way that expands access, celebrates diverse voices, and creates meaningful opportunities for artists to be seen and supported.”

Nashville continues to evolve as more than just a music city, as the capital of Tennessee attracts more and more local and international fashion brands and retailers. Five fashion brands, including Brunello Cucinelli, Zimmermann, Staud, Malbon, and Eberjey, recently announced the opening of their debut stores in Wedgewood, highlighting the current shift taking place within the city’s retail offering.

The first to open is luxury Italian lifestyle brand Brunello Cucinelli, which opened the doors of its 3,650 square foot store at 505 Houston Street just last month. Located across the street from Hermès, the new store offers a curated assortment of  Brunello Cucinelli’s women’s and men’s wear collection. 

Sleep and loungewear retailer Eberjey is set to open a 919-square-foot store at 1209 Brown Street in spring 2026, which will offer the retailer’s full assortment and mark its sixth US retail location. Australian swimwear and ready-to-wear retailer Zimmermann will open a 2,186 square foot store at 503 Houston Street in the summer of 2026, marking its 32nd store in the US to date.

Los Angeles-based apparel brand Staud aims to open a 1,742 square foot boutique in the summer of 2026 as well. Located at 515 Houston Suite 101, the upcoming opening of its Nashville stores comes on the heels of the brand’s continued retail expansion, including its recent store opening at South Coast Plaza in Costa Mesa in March. 

Lastly, golf and lifestyle brand Malbon is set to open a 2,534-square-foot retail unit at 501 Houston Street in summer 2026. The new retail location in Nashville will reportedly serve as a community hub, combining retail with ongoing events and collaborations especially tailored to the local market.

The upcoming store openings add to the growing momentum around Wedgewood Village, AJ Capital's 18-acre mixed-use development in Wedgewood Houston, which spans more than 1.6 million square feet of residential, retail, and office space across multiple phases. The new brands join a strong lineup of openings already slated for 2026, including Momotaro and Middleman.

“This dynamic assemblage of global retailers solidifies Wedgewood Village as a preeminent destination for contemporary fashion and culture—not just in Nashville, but across the entire Southeast,” said Kyle Allen, AJ Capital Senior Vice President of Retail, in a statement. “Nashville continues to draw major brands from across the globe, and this represents another significant milestone for the city as it strengthens its position as a tier-one destination.”

Fashion for Good has launched the Mass Balance Demonstrator, a new collaborative industry initiative to implement and scale a chain-of-custody system that traces biomass-based PET through textile supply chains. 

The project is part of the global innovation platform's broader goal of accelerating decarbonisation across the apparel sector. Today, biosynthetic materials remain a small fraction of projected textile output for 2030, held back by underdeveloped commercial infrastructure, low production volumes, and high costs. 

Mass balance attribution (MBA) offers a practical bridge in the meantime. Borrowed from industries such as renewable energy and sustainable forestry, the MBA is a chain-of-custody production model that allows renewable and fossil-based feedstocks to be mixed within the same production system. The amount of renewable input is measured, recorded, and independently verified, and a proportional share is then allocated to the final output, in this case, biomass-attributed PET, though the model can apply to other fibres, such as nylon. 

Importantly, this does not mean every product physically contains renewable material; rather, it reflects a strictly controlled accounting of renewable feedstock entering the system, with certified attributes unable to be counted twice. "We are at a point where the industry wants to move and adopt biosynthetics, but the production frameworks and commercial infrastructure haven't caught up," said Katrin Ley, Managing Director at Fashion for Good, in a statement. 

"The Mass Balance Demonstrator project is about closing that gap: building the impact and commercial evidence, the blueprint, and the feedback loops that will allow the MBA model to scale with integrity." The new initiative brings together leading players from the industry, including Bestseller, Beyond Yoga, On, Paradise Textiles, Environmental Resources Management (ERM), Indorama Ventures, ISCC, UPM Biochemicals, and Textile Exchange. 

The MBA project has four core aims: to physically produce biomass-attributed resin and yarns that match conventional performance standards; to measure full greenhouse gas emissions from cradle to grave; to develop a practical roadmap for scaling biomass-attributed PET across the apparel sector; and to share findings with climate initiatives and standard-setting bodies to help shape credible industry guidance on MBA.

"Polyester is our second biggest fibre by volume, which means we are continuously investigating improvements in this category,” added Anders Schorling Overgård, Material Research Lead at Bestseller. “By taking part in this project, we are building experience within mass balance attribution and bio-attributed polyester. Hopefully, as we collaborate with other great partners, this can initiate pathways that can support scaling of renewable feedstocks (or inputs) going forward.” 

Children's wear specialist Carter’s, Inc. has teamed up with sportswear brand Umbro to launch a limited edition collection of soccer apparel for children.

Launching April 6, the Carter’s x Umbro collection aims to “celebrate the energy of the beautiful game through the eyes of its youngest fans.” The resulting collection includes country-inspired soccer kits from famous football countries such as Argentina, Brazil, Canada, England, France, Germany, Spain, and the United States.

“This collaboration is about experiencing the world’s game through the eyes of kids,” said Sarah Crockett, Chief Marketing Officer at Carter’s, in a statement. “Soccer is one of those rare moments that brings families together across cultures and generations. We wanted to create something that captures that energy and helps even the youngest fans feel part of the excitement.”

Available in sizes as small as newborn to 14, key pieces in the collection include a baby romper with embroidery and bold prints, a v-neck soccer jersey with team-inspired prints and patches, a play-ready skort with built-in inner shorts, and breathable mesh shorts with an inner drawcord.

“Umbro has always been rooted in the culture and pride of the world’s game,” added Andie Lipton, Senior Vice President of Marketing, Creative & Communications at Iconix International. “Partnering with Carter’s lets us bring that legacy to the next generation of fans in a way that feels authentic and fun for families.”

The Carter’s x Umbro collection will launch on April 6 in Carter’s retail stores nationwide and online at Carters.com, with prices between 24 and 28 US dollars.

Etsy is set to ban the sale of all animal fur from August 2026, following a 50-plus-day protest campaign by the Coalition to Abolish the Fur Trade (CAFT). The global online marketplace for handmade and vintage goods has updated its Animal Products Policy as part of its broader shift in its sustainability pillars and confirmed the changes in a separate email to CAFT. 

In addition to prohibiting the sale of products made from animal species that are threatened or endangered from August 11, 2026, Etsy will also ban all products made from or containing natural fur from animals killed for their pelts, “regardless of age or origin.” Etsy’s Animal Products Policy notes that this includes goods such as “ raw pelts, finished garments, and accessories made with real fur from animals such as mink, fox, and rabbit,” but does not include taxidermy or byproduct animal materials like leather, wool, or sheepskin.

Current fur sellers on Etsy have already been notified of the updated policy and made aware that their listings will be removed in the future. The decision is said to follow a 58-day campaign led by CAFT that included more than 50 protests of Etsy and its affiliates across 17 cities, including a disruption of Etsy’s presentation at the Morgan Stanley Technology, Media & Telecom Conference in San Francisco on March 3. 

In response to Etsy’s policy change, Suzie Stork, executive Director of CAFT, said in a statement: “Etsy’s policy sets a new standard for online retailers. Fur is losing. Designers are dropping it, publications are not promoting it, and now, Etsy, one of the world's largest e-commerce marketplaces, is banning it. The industry has nowhere left to hide. CAFT’s attention is now fully directed at Milan Fashion Week and LVMH. All designers and affiliates who work with Milan Fashion Week should be paying close attention.”

Animal fur keeps losing ground within the fashion industry, but the debate is far from over

Milan Fashion Week has been an ongoing target of anti-fur protests as part of an ongoing campaign from CAFT. Etsy’s decision to ban fur comes after a year of marked acceleration concerning animal welfare across the fashion industry. For example, last March saw global non-profit animal welfare organization Four Paws unite 100 brands in a call on Australia's wool industry to end live lamb cutting. In May 2025, Chinese giant Shein Marketplace banned fur and exotic skins, while Australian Fashion Week removed all wildlife-derived materials from its runways, and Asics committed to phasing out kangaroo skin in its footwear. 

June 2025 saw Sweden introduce an import ban on fur products linked to animal cruelty, followed in July 2025 by the EFSA recommending cage-free fur farming. Then, in October 2025, Condé Nast pledged to remove fur from its publications, and in December 2025, Poland enacted a national fur farming ban, the CFDA prohibited fur at New York Fashion Week, Hearst Magazines committed to no longer promoting animal fur in its titles, and US designer Rick Owens announced the removal of fur from future collections. 

These changes regarding animal fur reflect a decades-long trajectory, as since the 1980s, global awareness concerning the impact of fur farming and fur production has increased, with attention surrounding the suffering of millions of animals emerging, alongside the significant environmental impact and public health risks. With governments and political parties also weighing in, the European Commission was expected to issue a proposal regarding the future of fur farming across the region last month. 

However, recently, news emerged that the EU Commission remains internally divided over whether to ban fur farming across the EU, with some commissioners favouring an outright ban in response to a 1.5-million-signature citizens' initiative, while others prefer simply tightening existing animal welfare regulations. With only five EU member states still permitting fur farming, and the EFSA having concluded that welfare problems in the sector cannot be resolved through regulation alone, pressure on Brussels to act is mounting.

Not all industries are aligned with the end of the fur trade. Across the Atlantic Ocean, certain fur sectors appear to be thriving, with Canada's fur institute reporting a surge in demand and record-breaking prices, with a recent auction in North Bay seeing Canadian bobcat prices rise more than 300 percent year-on-year and strong international buyer turnout from across Europe and Asia. Industry leaders attribute the growth to rising consumer appetite for natural, durable, and responsibly sourced products, and are calling on the Canadian government to support continued market access for fur and seal goods abroad.

“There’s a growing interest in quality, long-lasting fur and seal products,” said Doug Chiasson, executive director of the Fur Institute of Canada, in a statement. “Canada is known for the resilience and dedication of its industry, which is rooted in the tireless efforts of Indigenous and non-Indigenous trappers throughout these lands over the centuries. The good that comes out of their work and the work of all in this industry has withstood the test of time, and perhaps more than anything else, the propaganda thrown at it by others.

Artificial intelligence (AI) is regarded as a key future technology in European retail. However, a recent study by London-based market research firm Retail Economics and Swedish technology provider Voyado reveals a significant gap between strategic ambition and practical implementation within the sector.

The report, “The State of AI in European Retail Marketing & E-Commerce”, highlights that the industry is in a transitional phase. While initial progress is evident, structural challenges continue to hinder development.

“The next two years represent a turning point as AI shifts from experimentation to a competitive necessity. Retailers are on a journey: most have begun testing and deploying AI, yet only a few have reached a stage where they are achieving consistent commercial returns,” said Richard Lim, CEO at Retail Economics.

Differences in the use of AI

The importance of AI is no longer questioned by most companies. There is a consensus that data-driven technologies will be crucial for future competitiveness, efficiency and customer satisfaction. The study shows, however, that the level of maturity varies significantly. While some pioneers have already deeply integrated AI into their processes, a large proportion of businesses remain in the experimental stage, testing individual use cases.

The use of AI is particularly widespread in marketing and e-commerce, where direct effects on revenue and customer loyalty are visible. Key applications include personalised product recommendations, automated campaign management and data-based analyses of customer behaviour. AI is also increasingly used for pricing and demand forecasting. In these areas, companies report measurable improvements, such as higher conversion rates or more efficient use of marketing budgets.

Hurdles in AI implementation

The study also identifies key obstacles preventing broader scaling. Problems with the data foundation are a primary concern. Many businesses struggle with incomplete, poorly structured or siloed datasets, which complicate the use of powerful AI models. Additional challenges include internal resistance to AI and a shortage of qualified professionals, slowing the development and implementation of relevant solutions. The integration of new technologies into existing IT systems also frequently proves complex.

In Europe, regulatory requirements and data protection also play a significant role, necessitating further adjustments.

AI as a strategic pillar

Beyond technological issues, the study also focuses on organisational aspects. Successful companies are primarily distinguished by their internal structure. They strategically embed AI at the leadership level, foster collaboration between specialist departments and IT, and adopt agile working methods. They also invest in targeted training to build the necessary skills internally. These factors are proving crucial for moving beyond testing to sustainably scaling AI.

Conclusion: Competition for the best AI solutions is increasing

Looking ahead, the study paints a clear picture: the importance of AI in European retail will continue to grow. Generative AI, in particular, opens up new possibilities in areas such as automated content creation, customer service and more precise offer personalisation. Companies that adopt these technologies early and effectively are likely to secure long-term competitive advantages.

AI is therefore no longer an option in European retail, but a necessity. The decisive factor will be how quickly businesses can overcome existing hurdles and develop scalable solutions from initial pilot projects. The competition for data-driven business models has already begun.

Madrid – To mark the Earth Month celebrations that begin every April, Spanish brand Ecoalf, a pioneer in merging sustainability and fashion design, has launched a controversial and striking campaign. The campaign reinvents the “Make America Great Again” slogan, which is associated with the presidential terms of US President Donald J. Trump. This initiative will be followed by the launch of a circular accessories capsule.

Although a widely repeated slogan within the US political landscape since Donald Trump used it for his 2016 presidential campaign, “Make America Great Again” has not only summarised the foundations of his intended policies but has also formed an entire political and social movement. This movement is known as “MAGA”, the acronym for the mantra. Trump popularised this message through the use of striking caps. These items have been consistently “trolled” since the 2016 campaign, especially by figures and movements opposing the policies he implemented during his first term from January 2017 to January 2021, and his current second term, which began on January 20, 2025.

Among these acts of visible opposition to the US president and his policies, images were released this week of the President of the Government of Spain, Pedro Sánchez, wearing a red cap. The cap was a gift from Sara Aagesen, third vice president and minister for the Ecological Transition and the Demographic Challenge. It reinvents the aesthetic of Trump's caps, replacing the MAGA slogan with the phrase “Make Science Great Again”. The images, taken from the president's TikTok post, quickly fuelled controversy given the increasingly direct confrontation between the two leaders. Ecoalf has now surprisingly joined this “war of the caps”. The brand has also reinvented the caps popularised by the MAGA movement, appropriating the design for a green cap marked with the white slogan “Make Planet Earth Great Again”.

Advocating for the protection of the planet

Designed for the April 2026 Earth Month celebrations, which will include the official International Earth Day on Wednesday the 22nd, the cap itself will not be produced or sold, at least for now. Its design and image serve only to illustrate and promote the campaign launched by Ecoalf. This advertising and awareness initiative kicked off this past Wednesday, April 1, with the installation of a large banner on Madrid's Gran Vía.

Sources close to the brand acknowledge that this is a risky move, firstly due to its clear political undertones and secondly because of the current tense diplomatic relations between the US and European countries, particularly Spain. Ecoalf wants to make it clear that the campaign is not intended to generate any kind of political debate, but rather a social one focused on protecting the planet. Ecoalf perceives that this discourse, after initially guiding people's behaviour and the policies of various governments and institutions, has cooled down. It is now on the verge of becoming irrelevant, condemning recent sustainability efforts to being nothing more than a passing trend. The brand has actively sought to counter this scenario by installing this large banner in the heart of Madrid. This is the cornerstone of a campaign that will be extended to some of the world's most iconic cities using Computer-Generated Imagery (CGI).

“For some time now, we have felt that protecting and caring for the planet has been forgotten and has lost its place in the conversation,” warns Javier Goyeneche, founder and president of Ecoalf, in a statement shared by the Spanish fashion brand. He adds that in light of this, “we wanted to share a simple message to remind people that protecting the planet is not a trend or a campaign, but a matter of responsibility towards future generations”.

A banner... turned into fashion

Installed on the façade of number 58 Gran Vía in Madrid, halfway between Plaza del Callao and Plaza de España, the 43x27 metre banner featuring the green cap with the slogan “Make Planet Earth Great Again” will not disappear after the campaign. Instead, it will be repurposed and used to create a capsule collection of bags. These unique, limited-edition pieces will be sold by Ecoalf to convey a dual message. Firstly, the need to defend the protection of the planet as an undeniable commitment for all of humanity. Secondly, to assert its own identity as a fashion brand that is equally committed to both design and sustainability.

“Where others see waste, Ecoalf sees an opportunity,” the Spanish fashion brand summarises. “Therefore, the billboard will be transformed into a limited collection of bags, which will carry with them a piece of the hope” that is being spread through this action. With this initiative, Ecoalf “reinforces the brand's commitment to the circular economy,” while also sending the message that “caring for the planet is not a trend, and it knows no borders; it is a collective responsibility.” This is a way of approaching the world that “today, more than ever, Ecoalf wants to highlight to us all, with a message of hope and inspiration for present and future generations”.

The global fashion industry entered March 2026 under mounting pressure from the Middle East conflict, yet delivered resilient earnings, strategic repositioning and landmark corporate transactions. Sentiment remained cautiously optimistic, with profitability gains offsetting topline softness while geopolitical disruption injected fresh uncertainty into supply chains.

Profitability over volume

The clearest trend was the pivot from revenue growth to margin expansion. Hennes & Mauritz AB reported a 1 percent sales decline in local currencies, yet operating profit surged 26 percent. Asos posted a 50 percent increase in adjusted EBITDA. Debenhams Group delivered adjusted EBITDA of 53 million pounds, up 36 percent. Hugo Boss saw profits rise on cost savings even as it forecast revenue declines. Macy's returned to positive comparable sales growth, and Burlington Stores recorded an 11 percent fourth-quarter sales increase.

Not every report struck an upbeat note. Lanvin Group disclosed a 17.6 percent revenue decline. Salvatore Ferragamo posted a 5.7 percent drop. Torrid saw net sales fall 9.4 percent. Heritage hatmaker Christy & Co. entered liquidation after 253 years, LuisaViaRoma filed for preliminary liquidation in Florence, and Lycra entered restructuring to eliminate 1.2 billion dollars in debt.

Middle East crisis reshapes supply chains

The most disruptive development was the closure of the Strait of Hormuz. Air cargo rates spiked by more than 400 percent, Maersk diverted vessels to the Cape of Good Hope, and energy costs surged across South Asian manufacturing hubs. Oil prices flirted with the highest prices ever before retreating. The 55 billion dollar Gulf retail market faced stock shortages, while garment factories in Bangladesh and India confronted production shutdowns. European fashion stocks declined sharply.

Mega-deals and strategic acquisitions

Spain's Puig and The Estee Lauder Companies confirmed merger negotiations that could create a conglomerate with nearly 20 billion dollars in annual sales, though Estee Lauder's market capitalisation fell by 5.22 billion dollars after the announcement. Kering formalised a 20 percent stake in jewellery manufacturer Raselli Franco for 115 million euros and launched a dedicated jewellery division. Ebay agreed to acquire Depop from Etsy for around 1.2 billion dollars. Allbirds was sold to American Exchange Group for 39 million dollars. Frasers Group increased its exposure to Asos to 29.26 percent and acquired almost 6 percent of Puma.

AI integration accelerates

Artificial intelligence emerged as a defining operational theme. Zalando disclosed that 90 percent of its content is now machine-generated. Kering appointed its first chief digital, AI and IT officer. Gap introduced conversational AI shopping experiences, and Debenhams enacted studio redundancies as it expanded AI imagery. Direct-to-consumer platform Quince raised 500 million dollars in a Series E at a 10.1 billion dollar valuation, with investors classifying it as a technology company rather than a retailer.

Resale reaches a tipping point

Second-hand fashion advanced from niche to strategic necessity. Beyond the Ebay-Depop deal, SMCP Group deployed its own white-label resale solution. ThredUp reported 20 percent revenue growth for 2025. Industry leaders argued that owning a resale channel is now imperative, given that platforms like Vinted have built parallel ecosystems outside brands' control.

Outlook

The National Retail Federation forecast US retail sales to grow 4.4 percent in 2026, reaching 5.6 trillion dollars. Consulting firms project single-digit growth for global luxury, with sales having reached 1.5 trillion dollars in 2025. Adidas announced plans to increase sales by two billion euros. Inditex posted 6.22 billion euros in profit for 2025. Prada Group and Golden Goose both reported double-digit revenue increases.

The overarching picture is of an industry generating profit under pressure. Tariff headwinds, energy volatility and geopolitical risk are compressing margins, but disciplined operators are growing earnings even when revenues stall. The months ahead will test whether that resilience holds as Middle East disruptions work through global supply chains.

Financial results reported in March 2026

a.k.a. Brands — Quarterly losses widened despite an uptick in full-year 2025 sales.

Abercrombie & Fitch — Reported lower profit despite setting a new sales record for fiscal year 2025/26.

Adidas — Announced plans to increase sales by two billion euros by 2028 and extended the contract of CEO Bjorn Gulden.

Alpargatas (Havaianas) — Reported record performance in Brazil and a return to profitability in international operations.

American Eagle Outfitters — Achieved record fourth-quarter revenue of 1.80 billion dollars, supported by an 8 percent comparable sales increase.

Asos — Posted a 50 percent year-over-year increase in adjusted EBITDA for the first half of the financial year.

Azzas 2154 — Brazilian group reported recurring net profit of 168 million reais in the fourth quarter.

Ba&sh — Surpassed 300 million euros in turnover with a 9 percent like-for-like increase in 2025.

Bimba y Lola — Closed 2025 with sales of 250 million euros, a 7 percent increase, but anticipated a complex year ahead.

Buckle — Net income rose to 209.70 million dollars on annual sales of 1.30 billion, up 6.6 percent.

Burlington Stores — Recorded an 11 percent sales increase in the fourth quarter of 2025, exceeding projections.

Caleres — Fourth-quarter net sales increased 8.7 percent to 695.10 million dollars amid the integration of Stuart Weitzman.

Carter's — Reported sales growth for fiscal year 2025 despite significant margin pressure from international tariffs.

Debenhams Group — Delivered adjusted EBITDA of 53 million pounds, a 36 percent increase, and raised guidance.

Deichmann — Posted strong results in Spain, with local growth doubling the group's global average.

Designer Brands — Navigated a sales decline with significant gross margin expansion in fiscal 2025.

Destination XL Group — Reported a net loss of 35.90 million dollars for fiscal 2025, compared to net income of 3.10 million the prior year.

Dick's Sporting Goods — Reported record sales for the full year and forecast continued growth following the Foot Locker acquisition.

Farfetch (via Coupang) — Performance improved under Coupang's ownership, though the parent company swung to a loss in Q4.

Fossil Group — Reported a narrowed operating loss for fiscal 2025, with full-year sales declining amid turnaround efforts.

G-III Apparel Group — Reported negative fiscal 2026 results as it navigates the planned exit of licensing agreements.

Gap — Reported a second consecutive year of topline growth amid its strategic transformation.

Golden Goose — Net revenues increased 15 percent in 2025, with direct-to-consumer sales up 21 percent.

Gymshark — Reported its 13th consecutive year of sales growth, with revenue rising to 656 million pounds.

Hennes & Mauritz AB (H&M) — First-quarter operating profit surged 26 percent despite a 1 percent sales decline in local currencies.

Hugo Boss — Profits rose on cost savings, though management forecast revenue declines for the current year.

Inditex — Posted 6.22 billion euros in profit for fiscal 2025 and 3.19 percent sales growth.

Intersport Group — Concluded 2025 with a year-over-year revenue increase of 0.4 percent, or 1.2 percent on a currency-neutral basis.

JD.com — Posted a 13 percent increase in total net revenues for 2025, reaching 1,309 billion RMB.

Kohl's — Achieved increased net income despite sales contraction in fiscal 2025.

Kontoor Brands — Exceeded expectations for fiscal year 2025, with revenue growth driven by the Helly Hansen acquisition.

Lands' End — Returned to topline growth in the fourth quarter of fiscal 2025.

Lanvin Group — Reported a 17.6 percent revenue decline for full-year 2025 amid a challenging global luxury environment.

Lojas Renner — Apparel segment drove 10.2 percent revenue growth, with consolidated net income up 22 percent.

Lululemon — International growth offset a North American decline in the fourth quarter, surpassing internal expectations.

Macy's — Returned to positive comparable sales growth across its Macy's, Bloomingdale's and Bluemercury portfolio.

Mango — Delivered record turnover of 3.77 billion euros, a 13 percent increase on the prior year.

Misto Holdings — Operating profit grew 31.6 percent on consolidated revenue of 4.47 trillion South Korean won.

Myer Holdings — Reported a 24.45 percent sales increase to 2,279.50 million Australian dollars following brand integration.

Neinver — Closed 2025 with 1.72 billion euros in sales across its 20 European outlet assets.

On Holding — Increased annual revenue by 30 percent to a new record, though net profit fell short of the prior year.

Pepco Group — Reported continued growth in revenue and gross margin in its half-year trading update, led by Poland and Western Europe.

Prada Group — Boosted annual revenue and profit, driven by continued appeal of the Miu Miu brand.

Ross Stores — Fourth-quarter sales rose 12 percent, contributing to record annual sales for fiscal 2025.

Salvatore Ferragamo — Full-year 2025 revenues declined by 5.7 percent to 1.02 billion euros.

Shoe Carnival — Full-year diluted earnings per share of 1.90 dollars exceeded market expectations.

Stitch Fix — Reported 9.4 percent revenue growth in the second quarter of fiscal 2026.

Swarovski — Delivered 6 percent organic growth, reaching revenue of 1.97 billion euros for fiscal year 2025.

ThredUp — Reported 20 percent revenue growth for full-year 2025, reaching 310.80 million dollars.

Tilly's — Returned to profitability in the fourth quarter of fiscal 2025, its first profitable Q4 since fiscal 2021.

Torrid — Annual net sales declined 9.4 percent to 1.10 billion dollars amid closure of 151 locations.

Van de Velde — Reported revenue recovery of 1.9 percent in the second half of 2025 following a challenging first half.

Vera Bradley — Swung to a fourth-quarter profit under newly formalised executive leadership.

Veste — Brazilian high-end apparel group posted a 10.4 percent revenue increase for 2025.

Victoria Beckham — Sales rose 19 percent to 170 million dollars, with new stores planned for New York and Paris.

Victoria's Secret — Exceeded expectations in fiscal year 2025/26, driven by a strong final quarter.

Weyco Group — Reported a decline in net sales and earnings as tariffs and soft consumer demand weighed on performance.

Zalando — Met 2025 expectations with increased sales and operating profit, and forecast further growth for 2026.

The daisy bra turns 30, and Marie Jo is celebrating in style. To mark the occasion, the brand teamed up with Belgian fashion designer Jordy Arthur for an exclusive couture collaboration: a one-of-a-kind reinterpretation of the archival daisy corset. The result is both a love letter to three decades of iconic design, and a showcase of what fashion can do.

A match made in fashion heaven

Jordy Arthur is a Hasselt-born fashion designer. Known for his joyful approach to design, Jordy has collaborated with top fashion and lifestyle brands around the world. His work is bold, fun and expressive: a spirit that perfectly matches the playful confidence of the daisy bra.

From atelier to avant-garde

With this brand-new collaboration, Jordy Arthur’s creative vision meets the savoir-faire of the Marie Jo atelier in Schellebelle. Together, they reimagined the daisy corset as an exclusive couture creation. The piece honours three decades of iconic Avero design while showcasing the skill and innovation that will define its future.

The dress is also designed with versatility in mind and can be styled in multiple ways: with or without the tulle skirt, depending on the desired look - from sculptural statement to more understated elegance.

The design makes intensive use of signature bra straps and clips, subtle references to the origins of the piece. And for those who look closely, a surprising detail reveals itself: almost inception-like, an Avero flower reappears on the inside of the dress - a nod to the iconic design where it all began.

Eyewear giant EssilorLuxottica has made an overseas acquisition. The company has acquired a “significant” stake in Top Charoen, making it a partner. The transaction, for which financial details were not disclosed, consolidates the long-standing collaboration between the two companies.

“The partnership with Top Charoen strengthens our presence in one of the most significant Asian countries. It also contributes to raising the standards of vision care and supports the development of the new wearable category. In the same way, we continue to provide our optical customers with innovative and high-quality products and services. We are working together to promote greater awareness of the importance of visual health and to respond concretely to the growing demand in Asia,” commented Francesco Milleri, chairman and chief executive officer, and Paul du Saillant, deputy chief executive officer of EssilorLuxottica, in a note.

Top Charoen is the leading optical retail chain in Thailand, with over 2,000 stores in the country.

Founded in 1947 with the opening of the first store in Saraburi, the company also had a travelling programme to bring vision care services to more rural areas. Today, Top Charoen operates through several banners. These include Top Charoen; Luxoptic; Eye Class; Eye Bright; Eye Sport; Big C Optical; Robinson Optical and Beautiful Optic.

The company is also active in e-commerce, through a proprietary platform and a selected presence on local third-party marketplaces.

Interview As the gap between sustainability goals and industry reality grows, Textile Exchange is shifting from a focus on guidance to one of shared accountability. In an interview with FashionUnited, Sarah Needham, chief engagement and partnerships officer, and Beth Jensen, chief impact officer, discuss the organisation's new action-oriented membership structure, designed to bridge the divide between ambition and measurable impact.

From unifying global standards to supporting raw material producers at the start of the supply chain, they explore how standardised data and collective action are helping brands navigate emerging regulations and drive a high-tech transition toward preferred production systems.

When deciding to shift to a more action-oriented membership structure, what industry gaps or frustrations did Textile Exchange recognise that made it clear the organisation needed to move beyond engagement and towards accountability?

Sarah Needham: Membership has always been central to Textile Exchange’s impact. We have built a global community of over 700 members across the supply chain and supported them with resources, data, connection, events, and expertise. But as the gap between ambition and reality has widened, it’s clear that guidance alone is no longer enough.

The shift to a more action-oriented membership structure reflects the need for deeper engagement and greater accountability. We want to support members to make measurable, credible contributions to industry-wide goals, in an effort to drive beneficial outcomes for climate, nature, people and animals. Practically, that means clearer expectations around increasing both supply and demand for materials from preferred production systems and aligning members around a shared pathway toward system-level change.

The new Action and Community cohort structure introduces clearer pathways for different types of organisations. How do you expect this structure to change how brands, suppliers, and other stakeholders collaborate across the value chain?

Needham: The two-cohort structure reflects the distinct needs and goals of different types of organisations working within the industry, while creating clearer, more purposeful pathways for collaboration.

The Action Cohort brings together brands, retailers, suppliers, and Tier 4 stakeholders who directly source or produce raw materials and want a clear direction to meet targets. It is designed for those already taking steps toward sourcing or producing through systems that verify best practices and scaling preferred production systems. These members commit to taking tangible action on sourcing and production, moving from reporting on progress to implementing verified best practices and helping to scale preferred production systems.

A key shift here is bringing both ends of the supply chain together to work through shared challenges via collective action, helping to build alignment, trust and systemic solutions.

The Community Cohort supports organisations whose work sits outside of direct sourcing or production, such as academics, non-profits, solution providers, and Tier 1–3 supply chain partners. This cohort provides space to build expertise, share insights, and exchange best practices, ensuring knowledge and learning continue to follow across the wider system.

Together, these cohorts are designed to strengthen collaboration by clarifying roles, aligning actions and connecting organisations around shared goals.

Recent progress tracking acknowledges that the industry is not currently on track to reach its 45 percent GHG emissions reduction target. What role do you see Textile Exchange playing in closing the gap between sustainability ambition and measurable impact?

Beth Jensen: Textile Exchange's mission is to transform how we produce, choose, and reuse materials to benefit people and places at the source. Our role in closing the gap between ambition and progress has three core parts: setting clear direction, convening for action, and enabling and reporting on credible progress, through mechanisms such as our Materials Benchmark and Materials Market Report.

Textile Exchange has developed a set of actions and aggregate targets for six priority fibre and raw material production systems: cotton, wool, bovine leather, polyester, nylon, and manmade cellulosic fibres (MMCFs). The aggregate targets are set for 2030 and 2035, providing a clear direction of travel for the industry. These targets are grounded in extensive data analysis and research, mapping against voluntary and regulatory frameworks, and extensive stakeholder engagement.

They are aligned with Textile Exchange’s Preferred Production System principles, and are designed to support the achievement of the industry’s overarching climate and nature impact goals. Brand and retailer members will set their own meaningful goals aligned to the aggregate targets.

Textile Exchange also convenes its global membership to support organisations’ progress against climate and nature impact goals. For those organisations already reporting and sourcing or producing through verified production systems, and for Textile Exchange’s strategic partner organisations, there will be an opportunity to co-create the “Lead” step of the Action Cohort membership pathway.

Through coordinated collective action in this step, members will benefit from pooled resources and equitable decision-making, bringing together funding, expertise, and networks. With the right structures in place, members will be supported to take decisive actions that contribute to system-wide transformation beyond what any one organisation can deliver alone.

Finally, we support progress through Textile Exchange’s tools, standards, reports and guidance, while tracking progress via mechanisms such as the Materials Benchmark and Materials Market Report.

Impact data is an important backbone to the progress we want to see. Textile Exchange’s work on impact data is guided by its “LCA+” approach, which acknowledges that Life Cycle Assessment data can be a useful tool for understanding the impact of materials and production systems, but that for a truly holistic view of impact, other areas outside of what is covered by traditional LCA methodology (such as biodiversity, soil health, human rights and livelihoods, and animal welfare) should also be addressed.

Textile Exchange is developing seven LCA studies across different material categories, which will include “LCA+” content where possible. These studies will help increase the availability and quality of LCA data available to the industry, enabling more accurate modelling and progress tracking of GHG emissions and other impacts. The first of these studies, Life Cycle Assessment for Cotton, was released on March 26. Textile Exchange also released Ensuring Integrity in the Use of Life Cycle Assessment Data in 2025, which provides a foundational understanding of how LCA data should and should not be used.

We hope to help move the industry beyond isolated efforts toward coordinated action and achieve beneficial outcomes that no single organisation could achieve alone.

A key focus of the new strategy is Tier 4: farmers and raw material producers at the start of the supply chain. Why is it so important to shift attention to this level now, and how will the new structure better support them?

Needham: Tier 4 stakeholders—raw material producers—are critical to delivering beneficial outcomes for climate, nature, people and animals. Yet they often carry a disproportionate share of the cost and risk when transitioning to preferred production systems.

In bringing the two ends of the supply chain together, the Action Cohort in particular gives Tier 4 members the opportunity to share their perspectives, challenges, experiences, and needs. This will help brands and retailers to shape their own sourcing strategies to better support Tier 4 to make the transition to preferred production systems.

The aim is to ensure that transformation at the start of the supply chain is not only expected, but enabled.

The upcoming Materials Matter Standard aims to unify and simplify the standards landscape. In practical terms, how will this make it easier for brands and producers to adopt preferred production systems?

Jensen: The Materials Matter Standard unifies and harmonises Textile Exchange’s current standards, creating a more consistent and streamlined approach to certification across a variety of material production systems. The Materials Matter Standard, and other standards that include credible verification mechanisms, provide a straightforward way to adopt and scale verified best practices.

Textile Exchange is also emphasising partnerships with existing certification and material programmes. Why is collaboration, rather than building entirely new systems, the right approach for accelerating industry change?

Needham: We recognise that there are already credible systems and programs in place, which brands and suppliers are actively using. Textile Exchange’s approach is to align with the existing ecosystem where possible to avoid duplication, lower barriers to adoption, and avoid further fragmentation across the industry.

Fashion brands are operating in a challenging climate, with geopolitical instability, ESG pushback in some markets, and stricter regulations emerging in others. How is Textile Exchange helping its members navigate this complexity while still progressing on climate and nature goals?

Jensen: Textile Exchange’s new membership structure, particularly the Action Cohort, is designed specifically to support members through these types of challenges. The pathways to preferred production systems include a series of step-wise recommended actions and aggregate targets, providing a shared direction of travel for the industry towards sourcing and producing fibres and materials from preferred production systems. Collective action opportunities will be designed to address challenges that no individual company can solve alone and which are barriers to further transitions to preferred production systems.

Underpinning the Action Cohort are the reports, research, and impact data offered by Textile Exchange, including our forthcoming Life Cycle Assessment reports which provide updated and/or new impact data for key raw material and fibre categories, and our work on developing and implementing an approach to setting and measuring nature-related impact across the industry.

Looking ahead to 2030, what would success look like for Textile Exchange under this new strategy, and what kind of transformation do you hope to see across the fashion and textile industry as a result?

Needham: Our membership community represents leading, influential organisations from across the fashion, textile, and apparel industry. In guiding our members along a shared pathway and vision, we have the opportunity to create collective change that is more impactful than what each of our members can achieve alone.

Success for our new membership structure is a clear shift in the trajectory of our members’ material sourcing and production, making demonstrable progress towards preferred production systems that show clear beneficial outcomes for people, animals, climate, and nature.

Collective action projects, as part of the “Lead” step, are ongoing and leading to beneficial outcomes in the landscape. The achievement of the aggregate targets would involve Action cohort members making more informed raw materials production and sourcing decisions in line with the preferred production system principles and pathways. Action cohort members’ involvement would bring actors in the space together to support the regeneration and transformation of the production systems towards beneficial outcomes and impacts for climate and nature.

By 2030, we would like to see the Materials Matter System widely adopted as a practical, scalable system that supports the shift from fragmented approaches to systemic change, where preferred production systems become the norm across the industry.

A recycling plant has been developed in China that uses artificial intelligence to quickly and automatically analyse textile waste according to its material composition. The “Fastsort-Textile” machine was developed by the Chinese company DataBeyond and named one of the best inventions of 2025 by The Times Magazine.

The plant combines a conveyor belt system with an AI scanner measuring approximately five by two metres. There, the material composition of each individual garment is analysed in less than a second, with the results displayed live. The system then automatically sorts the textiles by fibre type, such as polyester or nylon, and directs them into the appropriate recycling streams. Items that do not meet defined quality criteria are sorted out. Previously, up to 50 percent of the textiles processed were considered non-recyclable and were disposed of or incinerated. With the Fastsort-Textile machine, this proportion is said to have fallen to 30 percent.

The machine achieves a high level of efficiency. Around 100 kilograms of clothing are sorted in two to three minutes, totalling up to two tonnes per hour. This is significantly faster and more precise than the manual sorting that has been common practice until now. The Fastsort machine is also said to be able to sort by details such as colours and neckline types on T-shirts. For shredded textiles, it sorts out contaminants like sequins, buttons, and zips.

The machine is located in an industrial park in Zhangjiagang, a small city on the east coast of China. The company, DataBeyond, is a Chinese technology firm founded in 2018 that now operates globally. It specialises in AI-supported sorting solutions for recycling processes. Its European branch is located in Italy.

The company primarily develops optical and AI-based sorting systems for various waste streams, such as plastics and textiles, and is one of the leading providers of such technologies in China.

The company's goal is to make recycling processes more efficient through automation and to advance the transition to a more digitised circular economy.

Louis Vuitton presents the Speedy P9 in a series of still-life photographs and videos embodied by several Louis Vuitton Ambassadors and Friends of the House who open their Speedy P9 to reveal personal belongings that hint at their individual lifestyles.

Epitomizing Louis Vuitton’s savoir-faire and travel legacy, the Speedy P9 boldly reimagines the iconic Speedy, first introduced in the 1930s. This medium-sized carryall has become emblematic of Louis Vuitton’s travel heritage, forward-looking style, and exceptional savoir-faire. Men’s Creative Director Pharrell Williams introduced his take on this emblem of functional elegance just ahead of his Louis Vuitton debut, the Men’s Spring Summer 2024 Collection. He named the new iteration Speedy P9 – after Paris’s Pont-Neuf, the bridge on which that runway show was staged: P as in Pont or Bridge; 9 as in Nine or Neuf, which also means New. The calfskin is specifically chosen for its fine qualities first undergoes a double tanning process, followed by drum milling to achieve a butter-soft feel and waxy texture.

Each image reveals a wealth of items nestled inside Speedy P9, offering glimpses into the layered lives of House Ambassadors and Friends of the House. Golden Globe–winning actor and House Ambassador Jeremy Allen White carries a copy of today’s newspaper, a spiral-bound notebook, a brimmed cap, a comb, a watch, a set of dice, extra socks, and a charging cord in his green Speedy P9. The acclaimed English footballer prodigy and Friend of the House Jude Bellingham keeps a pair of aviators, a plane ticket and passport, an official jersey, a flacon of Louis Vuitton Ombre Nomade, and a set of keys with personalized fobs inside his red Speedy P9.

The acclaimed English footballer prodigy and Friend of the House Jude Bellingham keeps a pair of aviators, a plane ticket and passport, an official jersey, a flacon of Louis Vuitton Ombre Nomade, and a set of keys with personalized fobs inside his red Speedy P9.

While Grammy Award-winning artist and Friend of the House Future, fills his blue Speedy P9 with a tennis racquet, a diamond-set gold chain, a Monogram charm necklace, gummy candies, and a change of sneakers.

Basketball legend, Olympic gold medalist, and multi-time NBA champion LeBron James unveils his vibrant yellow Speedy P9—a personal capsule of essentials with golf balls and tees, alongside grooming staples like shaving cream and signature cap.

Meanwhile rapper and House Ambassador Jackson Wang fills his pink Speedy P9 — clasped with a pair of fuzzy dice — with professional headphones, a Polaroid photo of family, a fencing glove, music notation, a Rubik’s Cube, a mini sneaker, and more.

And finally record-breaking basketball player and House Ambassador Victor Wembanyama carries a mini basketball in his turquoise, Monogram alien charm-affixed Speedy P9, alongside a deck of cards, a lucky spur, and wired headphones.

The campaign photographed by Thomas Lagrange becomes intimate portraits of their owners — each bag imbued with the distinct, unmistakable imprint of the individual behind it.

Utrecht, Netherlands - "After about 30 minutes, I knew it was the one," confides Lara Peters, looking at her sleek, second-hand wedding dress. She had just said "I do" to her partner amidst the hustle and bustle of Utrecht station in the Netherlands.

Two days earlier, the bride found her dress in a pop-up shop at the station. The shop is run by the Dutch organisation "Free Fashion", which has decided to tackle the wedding industry as part of its promotion of circular fashion.

"Getting the message across that you can opt for sustainable choices for your wedding is very important to me," explains Peters, 42, to AFP.

To draw attention to an issue they care about, the sustainable development communicator and her husband, Mathijs Dordregter, 44, opted for a wedding in the busiest station in the Netherlands. The event was partly organised by Free Fashion.

"We know that in terms of emissions, making a wedding dress is roughly equivalent to a 250-kilometre car journey," explains Nina Reimert, project manager at Free Fashion, to AFP. "Since they are made of all sorts of materials, they are also really difficult to recycle."

"So, at the moment, it is a real nightmare. With 17,000 weddings a year in the Netherlands, you can do the maths," continues Reimert, 42.

To raise public awareness of this environmentally harmful overconsumption, Free Fashion launched an online appeal. The aim is to convince future brides to give a new lease of life to pre-loved dresses.

Celebrate love for the planet

For Lot van Os, who co-founded Free Fashion, the wedding dress is a powerful symbol as it is usually only worn once.

"When we celebrate love, we should also celebrate love for the planet," he told AFP.

With around 800 volunteers, Free Fashion is approached by local councils wishing to achieve their circular economy and waste reduction targets.

The foundation, which also presents itself as a fashion brand, works within companies by organising clothing swaps among employees.

"We also talk about this circular transition that we have to go through, because it is not a question of 'if' but rather 'when' things will change," continues the 33-year-old Dutchman.

Vegetarian meal and public transport

"There are already enough clothes in the world for the next six generations," reads a sign next to a rail in the station's pop-up shop, which holds several dozen white dresses.

Well aware of this alarming reality, the bride and groom did not just stick to the dress. In addition to Dordregter, who bought a second-hand suit, all the couple's guests arrived at the station dressed in their finest charity shop finds.

"Of course, we are going to opt for a vegetarian meal at the restaurant and we will get there by bus or perhaps by bike. Everything I bought for the wedding has already been used in previous weddings," says Peters with a smile.

Regarding the fate of her dress after the big day: "It is not going to end up in my wardrobe!" affirms the bride, determined to perpetuate this new tradition.

UK commercial real estate owner Derwent London has exchanged contracts for the disposal of Horseferry House SW1 to an overseas investor. The 164,900 square foot building serves as the global headquarters for British fashion brand Burberry.

The transaction is valued at 131.8 million pounds (174.5 million dollars) before rental top-ups. The sale price is reported to be marginally below the December 2025 book value. Completion of the deal is scheduled for June 2026.

Investment and asset management

Derwent London originally acquired the Westminster property in 2005 for 34 million pounds. Following the acquisition, the Group completed a substantial refurbishment of the site. It was subsequently pre-let to Burberry.

In late 2025, the Group regeared the lease with Burberry. This agreement extended the term by five years to 2043 with no break clauses. The lease also incorporates two five-yearly fixed uplifts scheduled for 2033 and 2038.

Strategic disposal targets

Derwent London chief executive, Paul Williams, stated that the disposal crystallises an approximate 8.4 percent internal rate of return (IRR) over the 21-year ownership period. This performance outperformed the MSCI Central London Office Index by approximately 240 basis points per annum.

Williams noted that the Group has exchanged contracts on approximately 275 million pounds of sales since the start of the year. The company is currently in discussions regarding a further 100 million pounds in potential disposals. These actions are part of a three year disposal target of one billion pounds.

The Group is the largest London office-focused real estate investment trust (REIT). As of December 31, 2025, its commercial portfolio was valued at 5.1 billion pounds. Other landmark buildings in its 5.3 million square foot portfolio include 25 Baker Street W1 and the White Collar Factory EC1.

Thirty years, 80 million euros in turnover and an unwavering global ambition. As it celebrates three decades of success, Sessùn is accelerating its international expansion. This provides an opportunity to review the retail strategy of a Marseille-based success story.

Sessùn and its boutiques: a curatorial approach

Sessùn currently generates 64 percent of its business through its own stores, with the online channel accounting for 19 percent and wholesale for 17 percent. This figure attests to the care the brand takes with its retail portfolio and demonstrates the strength of its physical retail strategy.

For several years now, Sessùn has capitalised on an image rooted in craftsmanship and local cultural heritage. This approach is evident in each of its boutiques, where earthy tones and natural materials complement each other. From Shanghai to Paris, via Amsterdam and Copenhagen, Sessùn has developed a lifestyle approach to fashion. The brand instils a curated decor in its boutiques, combining antique lighting with terracotta pieces.

Today, the company has nearly 100 points-of-sale across eight countries and nearly 48 percent of total revenue is generated in international markets.

Openings planned in Europe and beyond

Until 2024, Sessùn's presence in Northern Europe was exclusively through department stores. The year 2025 marks a change with the opening of its own branches in Copenhagen and Amsterdam, located in the iconic Pilestræde and Negen Straatjes districts. Development in the Netherlands will continue in 2026 with a planned opening in Rotterdam.

In Belgium, the brand has consolidated its position with new spaces in Ghent, Knokke and Uccle, in addition to its existing locations in Antwerp and Brussels. Italy is also a new target market for 2026, with the establishment of a first boutique in Milan and a dedicated space in the Rinascente department store.

In Luxembourg, the label initiated a strategic alliance with the premium multi-brand retailer Smets in 2025, notably presenting the exhibition “Divine Palette: Exploring Colors and Textures” designed by Capucine Guhur, winner of the Sessùn Craft Prize 2023. A boutique opening is planned there for 2026.

In Switzerland, the brand is complementing its long-standing presence with new spaces planned in Geneva and Lucerne this year within the Globus department stores.

In Latin America, the brand has also established a presence in the centre of Mexico City, within the Palacio department stores.

Sessùn has also opened a space of nearly 100 square metres in the Reel shopping centre in Shanghai, developed with the studio Antes Architecture. In 2026, this Asian expansion will accelerate with three new locations planned in China, including Shenzhen and Hangzhou.

US sportswear giant Nike has seen a jury verdict in its favour reversed by a federal judge in Manhattan, effectively nullifying a 355,450 dollars damages award against Canadian athleticwear company Lululemon USA Inc. (Lululemon).

The decision, signed by district judge Arun Subramanian on March 24, 2025, follows a legal battle initiated in 2023. Nike had originally alleged that Lululemon infringed two patents regarding innovations in sneaker structures, specifically concerning the knit construction of footwear uppers.

While a jury had previously determined that Lululemon infringed claims one and 14 of US Patent No. 8,266,749, Subramanian ruled that the patent in question was invalid. The judge stated that the technology would have been obvious to an ordinary person in the field at the time of its invention.

Details of patent claims

The litigation focused on several of Lululemon’s running and training models, including the Blissfeel, Blissfeel 2, Chargefeel Low, and Strongfeel shoes. Nike had sought damages representing at least 5 percent of the revenues generated from these specific products.

The court decree noted that while Lululemon was initially found to have infringed the '749 patent through the importation and sale of these models, it did not infringe claims of a second patent, US Patent No. 9,375,046. Furthermore, the court found that the '046 patent was not invalid as anticipated by the Nike Lunar one.

Despite the initial March 7, 2025, verdict awarding Nike 355,450 dollars, the subsequent ruling on patent invalidity removes Lululemon’s liability for these damages.

Ongoing legal friction

This footwear dispute is not the only legal engagement between the two industry leaders. Nike previously filed a separate lawsuit against Lululemon in 2022 regarding the Mirror Home Gym.

That case, which alleges infringement of patents related to digital fitness technology, remains ongoing in the New York court system.

The way jeans are processed in the factory largely determines their environmental impact when washed by the consumer. New research, shared by The Microfibre Consortium (TMC) on LinkedIn, shows that combining mercerised yarn (treated cotton) with specific washes can reduce fibre shedding by 77 to 93 percent per wash cycle.

The processes for two popular finishes proved most problematic. These were stone washed, popular for the faded look it gives jeans, and towel washed, where jeans are washed with bleached towels for a speckled effect. The friction in these processes damages the fabric, causing a high level of fibre shedding even after five washes by the consumer.

This effect was significantly less pronounced with more intensive bleach washes (heavy bleach) and ice washes, which are treated with pumice stone for a ‘frozen’ effect, turning the blue dye of the jeans white. These treatments make the fabric smoother, which slows down further fibre degradation during washing.

The study highlights the importance of design choices in making the denim industry more sustainable. However, these are preliminary conclusions and not yet sufficient for brands to base their strategies on. A heavy chemical wash may be beneficial for fibre retention, yet it could perform poorly in other areas, such as causing water pollution during production. TMC is therefore urging brands to find a balance between a clean production process and a more sustainable use phase.

The study ‘Evaluation of microfiber emissions from treated denim fabrics in domestic laundry: Exploring low-emission treatments’ was published in the Journal of Environmental Chemical Engineering.

France's Clear Fashion app has reached a major operational milestone; more than 27,000 products can now be scanned in-store to instantly retrieve their official environmental impact score.

The achievement comes five months after the country's government launched the French Environmental Cost scheme, a labeling initiative that entered its voluntary phase in October 2025. Through the scheme, every garment gets a numerical score based on environmental impact: the lower the number, the better. The tool considers a product's entire life, from raw material to the factory to the shop floor, as well as how easy it is to recycle or repair.

Often dubbed the 'Yuka of fashion', Clear Fashion is applying the scanning concept, already widely adopted in the food sector, to textiles. This new feature allows consumers to access a garment's environmental score by simply scanning its barcode. The deployment comes at a crucial time, as environmental labelling still struggles to gain traction with the general public.

27,000 products already indexed, from mass-market retail to luxury

The strength of this update lies in its comprehensiveness. The app makes all products whose impact has been calculated and submitted to the official government portal scannable, regardless of the technical partner (such as Clear Fashion or Fairly Made) that assisted the brand in the process:

• Mass-market and high street retail: Kiabi, TEX (Carrefour), Tissaia (E.Leclerc), Okaïdi, Bonobo.

• Premium and designer labels: Courrèges, Paul Smith, Soeur, Sessùn, ba&sh.

• Outdoor and sustainable brands: Millet, Rossignol, Picture, 1083, Loom, Lagoped.

Access to the scan is conditional on brands having calculated their impact via the official textile environmental labelling portal. The score is expressed in impact points according to the government's methodology and quantifies the product's ecological footprint. A higher number signifies a greater impact.

Link between public authorities and the field

A pioneer since 2018, Clear Fashion has collaborated with public authorities since 2020 to define the framework for this methodology. The company is acting as an interpreter of the regulation for the end consumer by launching this feature.

“Clear Fashion acts as a practical link between brands, consumers and public authorities,” states the press release. The objective is to establish a new purchasing habit, transforming complex technical data into an instant indicator for choice.

Beyond ecology: emergence of the 'Fashion Score'

While the official environmental impact is the cornerstone of the scheme, some brands are choosing to go further. Retailers such as Sessùn, Picture and Carrefour are also displaying the 'Fashion Score'.

Rated from 0 to 100, this index provides a broader assessment of the product by incorporating criteria not covered by the strict government labelling, such as:

• Social production conditions.

• Toxicity and health issues.

• Animal welfare.

“We are committed to transparency. Like the Nutri-Score in the food industry, the Fashion Score can become a simple benchmark to help consumers make more informed choices,” emphasises Bertrand Swiderski, CSR director at Carrefour.

Acceleration expected for autumn 2026

The volume of scannable products is expected to grow exponentially in the coming months. This momentum will accelerate by October 2026, a date when default calculation methods will simplify access to the scheme for latecomers.

With more than 400,000 users and a growing profile, Clear Fashion intends to influence consumer purchasing decisions in the coming months. This will be particularly evident during its presentations at the ChangeNOW summit, where the team will demonstrate this real-time transparency tool.