The menswear buying season for SS27 begins on June 16 with Pitti Uomo 110 in Florence, followed by the menswear shows in Milan and Paris. One of the defining themes shaping the season is the continued rise of ‘soft masculinity’—an aesthetic that moves away from rigid, overtly aggressive styling in favor of a more tactile, expressive, and emotionally resonant approach. What was once considered a niche subculture has now entered the mainstream.

Fueling this shift is a growing backlash against increasingly flat, screen-dominated digital lives. Consumers are experiencing what psychologists describe as a ‘haptic deficit,’ a craving for physical and sensory engagement. As a result, a simple cotton shirt is no longer enough to capture attention in a retail environment. Shoppers are seeking a sensory reward.

Expect designers and brands to respond with richly textured fabrics, touchable surfaces, and visually engaging patterns. Tactile materials, dimensional finishes, and vibrant plaids will play a key role, appealing not only to the eye but also to the desire for a more immersive, physical experience.

Here are ten key items to look for throughout the season.

The check shirt and matching tie

As seen at: Pitti Uomo SS26.
From Thrash Bespoke, a tattersall check s/s shirt and matching integrated tie. in earthy muted tones, including olive green, dark brown, and soft tan.

The jacquard half-zip sweater

As seen at: Louis Vuitton SS26.
A striped jacquard half-zip sweater with fringe details in purple and cream-toned 100% wool, featuring chunky jacquard stitches.

The geometric knit sweater vest

As seen at: Hermès SS26.
A bright green geometric knit sweater vest with alternating solid green diamonds and textured, open-stitch moss green zig-zag panels.

The marled knit sweater with elbow patches

As seen at: Wales Bonner SS26.
A textured marled knit grey and white mouliné weave sweater featuring contrasting cream-colored canvas shoulder and elbow patches

The cropped suede utility jacket

As seen at: Kidsuper SS26.
A structural, multi-textured cropped suede utility jacket featuring patchwork cream and beige panels, with asymmetrical pocket detailing.

The patchwork cotton jacket

As seen at: Paris Fashion Week Streets SS26.
A KAPITAL Boro Drizzler zip-up jacket featuring a distressed patchwork design and sashiko stitching.

The madras plaid utility suit

A multi-toned Madras plaid half-zip hoodie jacket and matching knee-length shorts

The glen plaid slim-cut tailored pant

As seen at: Junya Watanabe SS26
Slim-cut tailored pants in glen-plaid with a seam arching slightly upward over the knee to provide an anatomical, pre-shaped bend. They were shown with a matching slimline jacket.

The textured relaxed pant

As seen at: Louis Vuitton SS26.
Printed wide-leg cargo pants featuring an abstract, cloud-like tie-dye motif mixed with fine plaid and check structures.

The patchwork duster coat

As seen at: PDF SS26.
A floor-length, oversized, deconstructed patchwork duster coat with olive green plaid front panels and back with dark washed denim sleeves

In a fashion landscape defined by increasingly complex supply chains and globalised tensions, the UK’s ‘farm to fashion’ movement has emerged as a stabilising presence. Such setups are not exactly new in the way of localisation, yet the format is being revived and modernised alongside a cross-industry call for a return to “Britishness”.

Many of these systems are rooted in the heritage and indigenous nature of certain textiles in the UK. Materials like leather, wool and flax have long been associated with the country. However, as industrialisation and globalisation took hold, they lost their status to cheaper, more scalable imports.

Now, in the wake of geopolitical shifts, agricultural challenges, and a broadening desire for transparency, fashion brands seem to be turning inwards in their pursuit of a viable textile supply and production process. In addition, fresher labels have emerged as captains of this movement, operating entire ecosystems that are wholly based inland and, often, just a stone’s throw away from where their products are finalised.

Many of these companies are built by one individual or a small team who have ingrained traceability into their framework from the outset. They therefore serve as examples of moving beyond industrialised systems and globalised supply chains, and returning to a homegrown approach to creation.

What has unfolded is a movement focused on rebuilding regional fibre and craft networks; taking the consumer from soil to garment, preserving heritage crafts, boosting rural economics, and cutting down the carbon footprint typically associated with clothing production. Here are some companies leading the way.

Herd: “The ‘grow to wear’ movement offers genuine connection in an increasingly fast-paced world…”

Self-proclaimed serial entrepreneur Ruth Alice Rands had a vision for a brand that not only produced high-quality knitwear, but also prioritised local production methods. She was specifically drawn to the intricacies of British wool and its long-spanning history, and embarked on a journey to source wearable local yarn. It was the wool of the native Bluefaced Leicester sheep she landed on, having identified the material for its power to soften blends.

Merging an ability to knit with a passion for provenance, Rands then established Herd in 2020. The company’s wool is sourced from over 40 sheep farmers across the North of England before it’s transferred to factories in Yorkshire less than 50 miles away. “It is a more lengthy and costly process but this uncompromising attention to detail shows in the hand-feel of our knitwear and tweed,” Rand told FashionUnited. “Not only does this mean we can consistently offer the finest British yarn, we also pay farmers directly, guaranteeing them a fair rate every year.”

Rands had initially started out in yarn wholesale, supplying brands like Sunspel and Toast. This division was then halted in 2022 when momentum for Herd’s own knitwear took off. The company has since expanded into leather, cotton and linen, and for its latest SS26 collection has included localised details like lace and buttons from the last remaining UK suppliers for these products. Rands’ philosophy extends into all aspects of the business, including colouring yarn with plant dye, a process that has been scaled with a Yorkshire-based factory.

To Rands, the farm-to-fashion movement–akin to farm-to-table movement–celebrates provenance and natural philosophies that work with nature’s abundance and support personal and worldly wellness. “Our customers love knowing the details, from the characteristics of the breed to the methodology of our plant dyeing, which makes the finished pieces so special and timeless,” Rands said. “The ‘grow to wear’ movement offers genuine connection in an increasingly fast-paced world, and insights into the pre-digital worlds of farming, manufacturing and craft, an increasingly necessary balm of our times.”

Billy Tannery: “Customers are bored of empty sustainability statements, we’re focused on showing the whole process…”

Billy Tannery was founded in 2016 by Jack Millington, who returned to the Midlands after a stint in London in pursuit of a more hands-on lifestyle. He set out to find a solution for waste from the food industry while also addressing the decline in British leather. What emerged was the establishment of a small-batch tannery, which had at first focused on the production of handmade goat leather goods, before expanding into deer leather and bespoke hospitality products.

The farm answers the question of what happens to animals that may not make it through the food chain. Male goats born on a dairy farm, for example, were often killed straight after birth before meat companies stepped in, while numerous deer were being culled each year to prevent damage to native ecosystems, yet their skins were going to waste. Millington tapped into the UK’s centuries-old leather knowledge to provide an alternative to this waste, and sought to challenge misconceptions surrounding leather by setting up a framework for bringing production methods closer to home.

According to the company, all leather is sourced as a food by-product and tanned using bark extracts in the UK, creating products that embrace natural variations and are therefore free from plastic coatings and pigments. Products, most of which are bags, backpacks and accessories, are made with two artisanal workshops in Somerset and Leicestershire and typically consist of clean lines and seasonless designs.

Millington said: “At Billy Tannery, connecting the dots in our entire supply chain - from the source to our farm micro-tannery and workshops, and directly to customers - is all about trust and transparency. Customers are bored of empty sustainability statements so instead we’re focused on showing the whole process as honestly as possible. Our small-batch methods are less about scarcity and more about total oversight. Our customers want to feel connected to the British countryside and we want our leather to be the medium. Scars and all.”

Glencroft: “It’s essential our customers understand they are paying for a product that is better made because it’s entirely traceable…”

Family business Glencroft has specialised in classic countrywear since 1987, and has used 100 percent British wool for all of its knit products throughout its lifespan. As the business grew, the team–consisting of founders, husband and wife duo Richard and Justina Sexton and their son Edward Sexton–began to question how to incorporate wool from sheep within Clapham–their corner of Yorkshire–and in turn support farmers looking to broaden their scope.

In 2021, Glencroft began expanding with its own wool, starting with the minimum commercial quantity of 500 kilograms. After partnering with the Yorkshire Dales National Park, the project took off, resulting in what is now known as Clapdale Wool. The initiative sources fleeces from seven local farmers, many of whom Edward grew up with at the local school and now own local breeds like Dalesbred and Texel, which are not traditionally associated with knitting wool.

“The global supply chain is efficient but it has caused consumers to lose touch with where their products actually come from,” Edward Sexton said. “As a small family business, we can’t compete on price with massive brands manufacturing overseas. But while these brands pay lip service to sustainability, it creates an opportunity for smaller brands like us to use our local connections, and in our case our proximity to Yorkshire - one of the oldest wool processing areas in the world.”

Clapdale uses wool with little monetary value to create premium, traceable products, each made within a local supply chain network. In 2022, the company sourced three tones of wool to make mixed-breed yarn for limited edition knitwear or to weave into tweed products. Farmers were then paid a premium of at least one pound per kilo to cover their shearing costs, and a further 10 percent share of profits. While Clapdale recognised the challenge of processing and selling through this amount of wool, the company said it was looking forward to sourcing more in summer 2026.

Sexton added: “For a small business making premium knitwear, it’s essential that our customers understand they are paying for a product that lasts longer and is made better because it is entirely traceable. There is absolutely no disconnect between our brand, the fibres, and the people involved from the beginning to end. I can even take you into the fields next to our office and show you which sheep our jumpers are made from.”

British designer Matthew Williamson has partnered with Free People to design an exclusive 15-piece capsule collection for summer 2026. The move marks his return to fashion design, with his first collection launch in seven years.

The partnership felt like a natural fit for the two, as the designer’s work resonates with Free People’s philosophy of creativity, freedom, and a celebration of individuality. Williamson, who is known for his take on modern femininity, bold take on colors and prints, and bohemian-glamorous aesthetic, created a collection with Free People that’s inspired by a season of travel across Europe.

The Matthew x Williamson capsule collection features Williamson’s signature use of color and print, with shades taken from the landscapes of Mallorca, where the designer currently resides and runs his lifestyle store Caserra 71.

“It's been a while since I've stepped back into the fashion world, so collaborating with Free People felt incredibly exciting. I've long admired their aesthetic, and together we've created a capsule wardrobe that reflects both of our brand DNAs - rooted in colour, print, craftsmanship and a shared spirit of escapism,” said Matthew Williamson in a statement.

“The bohemian spirit I've always loved remains, but reimagined through a more modern, folkloric lens. I wanted the pieces to feel effortless yet impactful - a versatile European Summer wardrobe designed to be worn season after season.”

Celestial motifs and hand-painted designs are central to the collection, and standout pieces include the Palma Printed Maxi Dress, which references a silhouette from Matthew's Spring 2011 archive, the Retro Sunbeam towelling set in a deep, vibrant red, and the full-length Deià Embroidered Coat, inspired by the artistic world of Hotel Corazón.

The collection also includes swimwear and accessories for a complete and versatile vacation wardrobe that will take wearers from day to night. “Matthew's world has long felt deeply aligned with the creative spirit of Free People - from his bold use of colour and print to the creativity, artistry and craft surrounding his life and work,” said Leighanne Jones, Senior Creative Director at Free People.

“There's a shared sense of freedom and expression that made the collaboration feel incredibly natural from the beginning. Matthew is a true creative spirit, living a life surrounded by nature, travel, and beauty. Together, we wanted the collection to feel playful, joyful, and full of personality - a fresh take on a Balearic summer wardrobe designed to be layered, mixed, and worn effortlessly,” added Jones.

The Matthew x Williamson capsule collection is available at freepeople.com and select Free People London stores, including Duke of York Square, Richmond, Westbourne Grove, and Hampstead. To celebrate the collection launch, Williamson will also host a dedicated pop-up at Cassera 71, along with a curated collection of Free People's Free-est range.

Canadian lifestyle and travel brand Monos has partnered with Reformation to launch a limited-edition capsule collection of travel accessories.

The Monos x Reformation collection includes three different travel essentials made from deadstock materials, a practice that LA-based Reformation is known for. The new collection aims to reflect both brands' shared belief that products should be produced intentionally and designed to last.

“Sustainability has always been at the core of the Monos brand,” said Victor Tam, co-founder and CEO of Monos, in a statement. “Coming together with Reformation to craft a thoughtful collection of travel accessories from deadstock materials reflects a shared responsibility towards the environment.”

All the fabrics and materials used to make the Monos x Reformation collection were sourced as deadstock to minimise the production and use of new resources, use existing materials, and minimise waste. 

The capsule collection launch also marks a series of firsts for Monos, including a new quilted pouch with lace detailing and a luggage tag made from deadstock leather. “We’re thrilled to bring the best of Ref and Monos together in this capsule collection—two brands consumers already organically turn to for vacation essentials,” said Sarah Hooe, Senior Vice President of Global Growth and Expansion at Reformation, in a statement. 

“Our shared commitment to designing products more sustainably made this collaboration a clear fit, particularly as Reformation continues to expand its footprint across Canada, one of our fastest-growing markets.”

The collection launch comes a year after Monos became the first North American luggage brand to achieve Certified B Corporation status, a step which cemented its long-term approach to craftsmanship, longevity, durability and environmental responsibility. “When you bring the Monos x Reformation collection with you, let it be a reminder to travel mindfully and tread lightly, to care for our home and keep our planet somewhere worth exploring,” added Tam.

The Monos x Reformation collection is currently available for sale exclusively on Monos.com, with prices starting at 25 US dollars.

Madrid – Spanish robotics start-up Theker Robotics has confirmed the closing of its latest funding round of 85 million dollars. The emerging company specialises in the design, production and marketing of robots for industrial process automation. The funds were contributed by a diverse group of investors, both old and new. These include the Inditex group and one of the Arnault family's investment firms, who are key shareholders in the luxury multinational LVMH.

According to information provided and made public by Theker's management, the 85 million dollars raised make this Series A funding round the largest ever closed by a robotics company in Europe. This specific round was led by US venture capital firm CRV, marking one of its first investments in a Spanish company. It was also backed by South Korean technology multinational Samsung, which is noted as its first investment in a Spanish company. Support also came from Aglaé Ventures, a venture capital firm with offices in Paris, New York and San Francisco. Aglaé Ventures is backed by Groupe Arnault, the family holding company through which the Arnault family controls its stake in the French luxury multinational LVMH.

In addition to these names, the robotics company also highlighted the participation of both existing and new investors in this round. These include groups, investors and venture capital firms such as Cathay Innovation; 20VC; Henkel Ventures; Korelya; Bright Pixel Capital; Carles Reina; Itnig; Spanish investment firm Kfund; Kibo Ventures; Mission; and Inditex. The Spanish fashion multinational has thus once again shown its support for the robotics start-up through investment. It announced its entry into the emerging company almost a year ago, during its 2025 Annual General Meeting last July.

Robotic solutions for the automation of industrial processes

Founded in 2022 in Barcelona by entrepreneurial duo Carla Gómez Cano and Jiaqiang Ye Zhu, Theker Robotics presents itself to potential clients and investors as a robotics company capable of designing, producing and marketing any type of robot for industrial process automation. These solutions are approached from an integral, holistic and circular perspective, and the company intends to accelerate their development thanks to the funds raised in this latest investment round.

In this regard, while stressing that the company does not produce prototypes but that its artificial intelligence (AI) powered robots are already in production, the investment raised in this round will be used to accelerate the integration of its high-capability robots into large industrial conglomerates; to strengthen Theker's technology, AI and robotics platform; and to expand its software, electronics, mechanical engineering and operations teams.

Theker said in a statement, “this round is not the end of the journey, but another step in the right direction. For that reason, thank you to everyone who has helped us get this far, and especially to our team, which maintains a standard that most people consider extremely demanding; to our customers, who push us to be better; and to our investors, old and new, who could see it before the rest of the world. We are building generalist, AI-native robots that adapt in real time to changing environments, with one goal: to solve 100 percent of industrial physical work and to build the world's largest company from Barcelona.”

New research from the Vrije Universiteit Brussel provides more insight into serial returners and the impact of frequent parcel returns. The study reveals that while only 15 percent of consumers return products excessively, they are responsible for almost 60 percent of the CO2 emissions linked to returns.

For the study, the shopping behaviour of almost 10,000 European consumers was examined. These shoppers came from Belgium; the Netherlands; France; Germany; Italy; Spain; Norway; Sweden; Poland and Greece. Not only was their return behaviour mapped, but also their attitudes and motivations.

"Returns are much more than a logistical cost," says Heleen Buldeo Rai, the study's lead researcher at the university. "They also have a significant environmental impact. We know surprisingly little about the consumers who return products most often." Returns involve extra transport and additional packaging. They also require a complex logistics chain, and returned items are more difficult to resell.

A striking finding from the study is that frequent returners, or serial returners, do not necessarily make more online purchases than others. The difference lies in their attitude towards returns. "For these consumers, returns have become a way to postpone purchasing decisions," says Buldeo Rai. "They order more impulsively, often buy several options at once and only decide at home what they ultimately want to keep." The convenience of returns is a decisive factor for many. For a long time, returns from online shops were free and relatively simple. Consumers tempted by easy, fast and free returns are almost three times more likely to be frequent returners. Consumers who are conscious of the environmental impact of returns are less inclined to send products back.

A clear profile of serial returners also emerges: they are, on average, younger, more often live in urban areas and frequently have a lower level of education. Frequent returners emit an average of almost 20 kilograms of CO2 annually through their returns. For other consumers, this average is three kilograms.

According to Buldeo Rai, the solution does not lie solely with the consumer. "Many online shops have encouraged returns for years because they increase sales. To limit the environmental impact, we must help consumers make the right choice straight away." The study advocates for better product information and increased use of tools such as virtual fitting rooms and size guides. It also calls for a critical look at sales techniques that encourage impulse buying. The study also identifies a role for policymakers. They must better inform consumers about the consequences of returns and develop clear rules for cross-border e-commerce.

"If we want to reduce returns, we need to understand why people send products back," concludes Buldeo Rai. "The most promising approach is not guilt, but smart solutions that help consumers make the right choice with their initial purchase."

The Ibiza Swim Week swimwear event celebrated its third edition from June 8 to 10 on the White Isle, bringing together 13 brands from various countries. The event was supported by the Eivissa City Council and featured a strategic collaboration with Miami Swim Week The Shows.

Spearheaded by Colombian entrepreneur and designer Nía Vásquez, the project aims to establish Ibiza as a leading European hub for swimwear. The organisation estimates this segment will be worth around 23 billion dollars by 2025. Vásquez, who has a background in business management and marketing with experience at Madrid and Paris Fashion Weeks, conceived the initiative following her participation in the New York and Miami circuits. “In Europe, Ibiza is the destination that best embodies the spirit of swimwear,” she noted on the choice of the island as the venue.

The line-up featured Maison Nura and Sajara Lozano from Spain; Lucini London and Par Mirage from the UK; Tatcher Attire from South Africa; Princess from Brazil; Acquadicoco, Conny Beachwear and May Rose from Italy; Bora Adore and Bikiswim from France; and Cocora, the Ibiza-based brand of the event's founder.

The edition was held in various locations across the island, combining catwalk shows, brand activations and content production. The main show took place on June 9 at the Hotel La Torre del Canónigo. It was set in the historic surroundings of Dalt Vila, a UNESCO World Heritage Site, adding a unique scenic element to the calendar. In parallel, the Hotel Aguas de Ibiza hosted “The Summer Edit”, a hybrid format of pop-ups and masterclasses aimed at buyers, suppliers and industry attendees, with sessions on makeup and hair care.

Creatively, the edition highlighted the key aesthetic codes for the summer. Multicoloured crochet, a standout at the Bikini Swim show, played with artisanal textures and vibrant colour contrasts, creating a fresh and playful feel.

The schedule concluded on June 10 with content production days for the participating brands. Shoots took place at locations such as Bonito Ibiza and aboard the historic Peter 1939 boat, reinforcing the event's digital-first approach.

This edition, the format has expanded its calendar beyond the island. On June 21, the platform will celebrate its opening at the Eidiko Showroom in Paris with a catwalk show and a private sale.

Furthermore, the preliminary presentation in Miami alongside Miami Swim Week The Shows reinforces the project's ambition to position itself as a transatlantic platform within the international swimwear circuit.

Interview

“Our goal is to create an ecosystem, not simply a fabric marketplace,” Jeanine Ballone, co-founder and CEO of World Collective explains when asked what her mission is. Ballone launched the digital sourcing platform in 2022 after years of working across what she described as a fragmented and relatively outdated global supply chain. To address these issues, Ballone sought to create a centralised, democratised and inclusive materials library designed to inform and support brands of all sizes.

It was imperative for Ballone that World Collective went beyond sustainability alone. During her time building supply chains from the ground up, specifically at companies like PVH and Germany’s Otto Group, the exec witnessed overused and undervalued systems dominated by huge brands that still lacked the necessary infrastructure to back scalability. “There was no central ecosystem where suppliers, brands, and creatives could connect, share information, and discover opportunities,” Ballone reflects.

A joint infrastructure and SME accessibility

World Collective was therefore established to serve not only as a marketplace, but as a storefront for suppliers, housing materials, innovation, and knowledge under one roof. This was then opened up to brands, many of which didn’t have the resources to access innovative materials due to the minimum order quantities required to source them. In response, World Collective built a demand aggregation platform enabling even SMEs to get involved.

Ballone explains: “A small brand in Japan may only need 25 kilograms, while another brand in Amsterdam may need a similar amount. Together they can reach the supplier's minimum requirement and gain access to materials that would otherwise be unavailable.”

The platform’s launch came amid an industry under pressure, with many brands now operated by reduced teams and, in turn, narrower bandwidths to manage sourcing complexities. As a result, Ballone says she has seen a strong demand for tools that remove friction.

Her vision was shared by other industry leaders who joined in building up the World Collective’s foundations. Julie Tran, who now serves as chief growth officer, has applied her 24-years of experience across workforce management, technology and business operations to the role. After questioning why innovative materials were failing to scale, Tran was drawn to World Collective’s mission and asked to join the team. “What has remained constant is our focus on materials innovation, accessibility, and creating process efficiencies that help brands make better decisions,” she says.

‘We don’t dictate what sustainability means for a brand…’

To ensure consistent quality, all suppliers are vetted and curated with an emphasis on innovation and natural fibres. “We don’t dictate what sustainability means for a brand,” Ballone explains. “Instead, we provide the tools and search criteria that allow brands to make informed decisions based on certifications, standards, and values that matter to them. For example, users can search based on certifications such as Oeko-Tex or Bluesign and identify materials that align with their requirements.”

Such information has become even more integral ahead of incoming EPR regulations, just one definitive factor dictating an industry speedily moving towards regulated transparency and brand accountability. To get ahead of the curve, World Collective has been exploring the idea of a compliance-ready textiles library made up of supplier-level data specifically designed to cater to Digital Product Passport (DPP) laws.

A pilot of the DPP-Ready Library launched for a set period last month alongside DPP infrastructure firm Kinset, initially spotlighting nine certified materials from three suppliers, each displaying information spanning composition to compliance to handling. After initial testing, the library has been put on pause as it moves into its next iteration, with additional materials expected to roll out further into its timeline.

Balancing compliance and regulatory burden

The pilot was a reflection of a long-standing belief of World Collective’s team: that material information should be captured at supplier level and travel with the product through its lifespan. The creation of a supplier-first infrastructure intends to balance out the burden of compliance so that responsibility doesn’t rest entirely on brands.

Despite the library launching prior to DPP regulations being set in stone, Ballone said she could already see where the industry was headed, and so the early introduction was a no-brainer. The mission is to disrupt a currently dysfunctional compliance system, marred by an industry that “keeps pushing responsibility downstream to suppliers without creating the support structures they need”.

The library therefore aims to make the process more efficient, allowing suppliers to maintain more control over their information, adjusting it in one place and approving brand access when needed.

From a brand perspective, Tran also notes benefits, specifically that in the present day these companies are being run by individuals who aren’t necessarily experts in regulatory frameworks. She explains: “Their priority is building products and growing their businesses, not studying global compliance frameworks. We remove that complexity by giving them access to vetted materials and DPP-ready information. That makes it easier for them to build responsibly without needing to become compliance experts.”

While much of World Collective is about accessibility, challenges in the current marketplace also extend to larger brands. To address this, the platform is currently working with brands of this scale on pilot projects targeting specific material categories. The process begins at the design stage, during which teams are aided in the identification of materials that meet their criteria. They are then supported through sampling, sourcing, manufacturing, DPP integration, and impact reporting.

‘We’re building roads, not just vehicles…’

“Better informed businesses tend to produce better products,” Ballone notes. “One of the biggest reasons innovative materials fail is that stakeholders don't have all the information upfront. By providing visibility into costs, impact metrics, certifications, and sourcing requirements early in the process, we increase the likelihood that those materials make it to market.”

As World Collective develops, so too will its features, with new technologies, such as mood boards and metric comparisons, currently being developed to make sourcing through the platform even more intuitive. Future initiatives will also look to support artisan-led and women-led programmes around the world, giving them access to brands through digital storefronts.

All of this contributes to the company’s vision of a future fashion supply chain defined by more visibility and greater business control. Brands, meanwhile, would be able to bring their existing supply chains into the platform, and use it as a sourcing and decision-making hub. “The goal is simple: give people better information so they can make better decisions. When sourcing, compliance, pricing, and impact reporting all exist in one place, decision-making becomes much easier,” Ballone says.

In the end, it is all about infrastructure for World Collective. “We’re building roads, not just vehicles,” Ballone concludes. “We don’t need to be the middleman. We simply want to provide the infrastructure that allows everyone to connect, communicate, and transact more effectively.”

Madrid – From this Saturday, June 13, to the upcoming Tuesday, June 16, the Italian town of Riva del Garda is hosting the 105th edition of the international trade show, Expo Riva Schuh. This leading footwear trade fair will once again be held alongside the 16th edition of Garda Bags, the specialised event for the handbag industry.

Spanish participation in both trade shows will again be led by a trade mission organised by the Federation of Spanish Footwear Industries (Fice), with support from ICEX Spain Export and Investments. These organisations have managed the national pavilion, which this edition comprises 40 exhibiting companies representing a total of 60 commercial brands. Fifty-eight of these labels will showcase their collections at Expo Riva Schuh, while two will exhibit at Garda Bags.

To provide further context for these figures, the 40 exhibitors and 60 Spanish brands at the June 2026 fairs represent a stable presence compared to the January edition. However, this marks a significant decrease from the previous year. Compared to June 2025, there is a 16.68 percent reduction in exhibitors and a 20 percent drop in brands, when 48 exhibitors and 75 brands attended the international fairs in Riva del Garda.

Focusing on the most recent January edition rather than the same event a year ago, Vicente Pastor, president of Fice, stated: “The stability of Spanish participation in a leading international fair like Expo Riva Schuh demonstrates our companies' confidence in foreign markets and their firm commitment to internationalisation.” He added that within this commitment, “this event is an excellent opportunity to present the spring/summer 2027 collections to buyers from all over the world” and subsequently, “to gauge the evolution of international demand.”

Decline in value of Spanish footwear

The reduced Spanish presence at this year's Expo Riva Schuh comes at a particularly complex time for the country's footwear industry. This is highlighted by several economic indicators, including export figures for the first quarter of 2026. The sector closed the January to March period with a total decline in exports of 1.6 percent, amounting to 976 million euros, according to the March foreign trade report from the Ministry of Economy, Trade and Business, as previously detailed by FashionUnited.

However, Fice offers a slightly different perspective, adjusting these figures. The federation maintains that during the first quarter of 2026, Spanish footwear exports reached a value of 933.4 million euros, representing a decrease of only 0.1 percent. This decline in value occurred even as the volume of exported pairs increased by 3 percent to 46 million. These indicators suggest a clear drop in the market value of Spanish footwear, with products being sold at lower prices than a year ago.

Key trade fair in exhibition calendar

Within this challenging context, the 40 exhibitors and 60 Spanish brands are arriving in Riva del Garda to gauge the international market by presenting their collections for the spring/summer 2027 season. This trade fair is a key event in the industry calendar. It is the first opportunity to showcase SS27 collections and the last chance to finalise orders for the upcoming autumn/winter 2026/2027 season.

The trade fair organisers have confirmed that over 1,000 brands and exhibitors from 44 countries will participate. International exhibitors from outside the European Union will lead the presence, accounting for 62.60 percent of the total. The common market will hold a minority position at 37.40 percent. The main exhibiting countries will be China (34.50 percent); Italy (10.60 percent); Turkey (10.60 percent); and India (9.40 percent). Spain, Brazil, Germany, and Portugal will also have a notable, albeit smaller, presence. Visitor attendance is expected to be similar to previous editions, which saw nearly 8,000 professionals in January and in June 2025.

Seventy percent of Spanish exhibitors from Valencian Community

Breaking down the Spanish presence at this edition of Expo Riva Schuh, companies from the Valencian Community will once again lead the delegation. With 28 exhibitors, they represent 70 percent of the Spanish contingent. The pavilion is completed by eight companies from the Region of Murcia (20 percent) and four from La Rioja (10 percent).

Nigel Cabourn, the legendary British designer known for his transformative menswear, has passed away at the age of 77 after battling cancer.

The news was confirmed via the late designer's official Instagram, where a statement read: “It is with the deepest sadness that we announce the passing of Nigel Cabourn. He lived a remarkable life, inspired many, will be greatly missed and his legacy will continue.”

Born in 1949, Cabourn first ventured into the clothing industry while studying at Northumbria University, where he began to specialise in heritage garments, vintage sportswear, and historical military uniforms.

From his Newcastle-based design studio, he compiled a personal archive of over 4,000 vintage pieces and reference books that went on to inform his own collections, including the launch of his eponymous label in the 70s.

Cabourn extended his design world into additional collections such as Authentic, Mainline, and his workwear label, Lybro. In 2013, he then debuted his first womenswear collection.

The designer operated 26 stores globally, including 16 in Japan and eight in China. He opened his first UK flagship store in 2014 at Covent Garden, London.

The industry responds

A slew of brands and fellow industry peers took to the social media post to share condolences and memories of Cabourn.

Denim Dudes said: “The most enthusiastic, infectious energy and the most prolific swearer I ever met. It will be impossible to forget Nigel.”

Paul Smith shared colourful hearts while Todd Snyder called Cabourn a “legend” and a “huge inspiration for all of us”.

Barbour said: “A North East pioneer of craft and clothing. Deepest condolences from everyone at Barbour.”

New York retailer Pilgrim Surf Supply commented: “Nigel, you’ve been such a huge inspiration and supporter to us here at Pilgrim. We’re going to miss your boundless energy, wisdom, humour and generosity.

“Forever grateful to all of your countless contributions to culture and for bringing so many of us younger people under your wing. We hope you’re blasting that trench whistle in paradise friend.”

End Clothing added: “Thank you for the stories, the generosity and the unwavering belief in doing things properly.”

In a post on the page of Australian retailer Pickings and Parry, the owners shared: “Where do we start with this one. Nigel was my clothing hero growing up in Newcastle. He became a vital inspiration for getting into the business, our first shop fit out, our travels, style, life and so much more.

“Mentor, friend, hero… legend in your own lifetime. You will be sadly missed but your lasting impact on so many will live on. Farewell Nige’ you mad man.”

Dutch menswear brand MR MARVIS announces a new partnership with Mattel, Inc., a leading global play and family entertainment company, in honour of the 65th anniversary of its iconic Ken™. This exclusive capsule introduces a versatile and effortless wardrobe designed for life outside the box.

Ken has been everywhere and done everything – from astronaut to lifeguard, from pilot to dog trainer. His next ken-venture as he celebrates 65 years? Mister Marvellous. A style icon with tenure, Ken understands that this requires a versatile but elegant wardrobe. And MR MARVIS knows how to supply just that: timeless design and a perfected palette of pastels. The limited-edition collection effortlessly merges signature Ken style with MR MARVIS’ dedication to quality and everyday comfort.

For life outside the box

The Ken™ x MR MARVIS collection is tailored for travel, effortless dressing and everyday versatility, providing a wearable wardrobe designed for a modern life lived outside the box. In line with MR MARVIS’ core production values, the entire capsule is crafted in Portugal from the highest quality yarns and fabrics.

"For us, this collaboration was exciting because it goes beyond nostalgia," says Raphaëlle Touat, Brand Director at MR MARVIS. "Ken is arguably one of the most recognisable icons on the planet, and the opportunity to dress such a beloved character through the MR MARVIS lens felt incredibly special. We wanted to create a wardrobe that feels optimistic, versatile and ready for wherever life takes him next."

That optimistic energy is brought to life through a playful reimagining of MR MARVIS' core silhouettes. For the occasion, MR MARVIS’ design team has emblazoned two of its signature summer styles, a pair of chino shorts and a pair of swim shorts, with Mattel, Inc.’s special Ken 1961 anniversary print. To address the need for lightweight layering, the capsule includes a lightweight Harrington jacket in off-white organic cotton seersucker and a substantial 100% organic cotton pullover with blue striped trims – both detailed with original Ken patches.

No wardrobe is complete without the classics, which arrive here in the form of a light blue Oxford shirt and a textured polo. The former is inspired by the memorable Ken "Heart Family" look from the 1980s and features a white button-down collar, while the latter offers a breezy statement option with a two-toned design and an open-knit structure. The capsule also marks the launch of MR MARVIS’s first-ever bag design, designed to carry all of life's Ken-sentials. The Premium Shopper is a fully reversible canvas tote bag that’s supplied with iron-on patches for personalisation.

Get it while you Ken

A collaboration this marvellous simply won’t stay around forever. The exclusive Ken™ x MR MARVIS capsule comes in strictly limited quantities. The items are available for purchase online and in the following MR MARVIS flagship stores: Amsterdam P.C. Hooftstraat, Maastricht, Zwolle, Antwerp, London and Paris, starting 12th June 2026. Ultimately, this partnership brings together two icons in shorts who share the same outlook on life: a reminder to Play Every Day while looking and feeling marvellous.

This autumn, from September 26, 2026, to February 14, 2027, Palais Galliera presents the exhibition "A wardrobe of one's own. Dissident femininities in the 19th century". This event highlights a major historical phenomenon: the appropriation of masculine dress codes by women in the 19th century.

An exploration of clothing and photographic archives

Conceived as a response to the often normative approaches to womenswear, the retrospective brings together nearly 500 works, including almost the entire wardrobe of the artist Rosa Bonheur. The exhibition reveals the growing adoption of elements from the male wardrobe through archival pieces such as riding habits, trousers, tailored suits, ties and top hats.

To contextualise these silhouettes, the museum offers a rich iconographic selection including paintings, fashion posters and 150 previously unseen amateur photographs. This juxtaposition of clothing and visual archives illustrates how the masculinisation of womenswear challenged the gender binaries of the society of that time. The exhibition thus creates a dialogue between historical figures such as Marie-Antoinette, George Sand and Natalie Clifford Barney, and many anonymous women.

Through the study of these archives, the museum team, under the general curatorship of Émilie Hammen, director of Palais Galliera, reminds us that fashion remains a powerful tool for redefining identities and social roles. It also shows that the idea of "genderless" is not a contemporary invention, but the direct legacy of these 19th-century women.

Oliver Peoples and Roger Federer continue their celebrated collaboration with the release of the Summer 2026 campaign and collection. The fifth chapter in their multi-year partnership under the Roger Federer (“RF”) and Oliver Peoples brands is introduced in the eternal city of Rome.

Shot between the historic Foro Italico and a classical Roman villa by acclaimed photographer Lachlan Bailey, the campaign stages Federer vs. Federer, an epic duel between the athlete and the icon, where sport and style converge into one iconic arena.

The campaign presents two expressions of Federer: the competitor, wearing the new performance-driven R-20 shield sunglass, and the icon, wearing the refined new R-19. Together, the imagery captures the spirit of the collection, balancing technical innovation, performance and timeless elegance.

This season introduces four new silhouettes alongside updated colourways of signature styles. The collection includes the performance-driven R-20 shield sunglass, the refined R-19 rectangular frame, the angular R-17 and the elegant R-18, as well as new colour additions to best-selling styles Mr. Federer II and Mrs. Federer.

No matter the shape, each frame reflects precision, style and motion captured in eyewear. Signature details are seen throughout the collection, including:

Across the collection, signature details pay tribute to Roger Federer’s sporting legacy. From custom corewire inspired by vintage tennis racquet strings to octagonal temple tips echoing racquet handle shapes, each frame combines performance-driven elements with Oliver Peoples’ commitment to craftsmanship and design. RF branding and rubberised components further reinforce the collection’s balance between technical innovation and everyday wearability.

The Oliver Peoples Roger Federer Summer 2026 collection will be available globally in Oliver Peoples boutiques and online, as well as through select wholesale partners.

US investment firm Elliott Advisors is believed to have emerged as a potential bidder for The Very Group as it reportedly mulls a deal that could value the UK retailer at two billion pounds.

This is according to Sky News, which had also reported in May that Chinese e-commerce giant JD.com was another interested party, eyeing the group as part of UK expansion plans.

The Very Group and Carlyle declined the media outlet’s request to comment.

The interest comes after private equity firm Carlyle took over The Very Group last year, ending the retailer’s long-standing relationship with the Barclay family.

Reports in January suggested Carlyle was preparing an auction process that valued the platform between two billion and 2.5 billion pounds.

Next to owning the Very and Littlewoods brands, the group also operates a financial services division, offering revolving credit facility options like buy now, pay later to shoppers.

For the 2025 financial year, The Very Group reported an 8.4 percent uptick to its EBITDA, driven largely by the home goods category, which expanded by 9.9 percent. Fashion and sportswear, meanwhile, declined by 3.7 percent, impacted by aggressive market-wide discounting.

In February 2026, Carlyle secured a long-term funding deal to extend and renew debt facilities, injecting 150 million pounds in financial support to position the retail group for its next stage of growth.

The US lingerie retailer Victoria’s Secret & Co. (VS&Co) has announced the preliminary voting results from its 2026 annual meeting of shareholders, confirming that investors voted to re-elect all nine of the company's director nominees to the board of directors.

The list of re-elected board members includes independent chair Donna James. The preliminary results indicate that James received the approval of over 99 percent of the votes cast, excluding those from BBRC.

The Singaporean investment firm BBRC, which waged a proxy contest against the re-election of James, voted against all company director nominees with the exception of chief executive officer Hillary Super. When factoring in all votes cast, James secured re-election with over 83 percent approval.

Overwhelming support for board leadership

Each of the other director nominees for VS&Co received approval from at least 96 percent of the votes cast, excluding the shares voted by BBRC. This equates to at least 81 percent of all votes cast at the meeting.

“We thank shareholders for their overwhelming support in electing all nine of the company’s director nominees,” VS&Co said in a statement. “Today’s outcome is a decisive statement of support for the current board leadership from VS&Co’s shareholders.”

The company noted that the vote recognizes the progress and value creation delivered under its current business strategy, while reaffirming shareholder confidence in the oversight of the board.

Execution of business strategy continues

The board election follows a positive financial period for the retailer. The group stated that its recent first quarter results for 2026 significantly exceeded both top-line and bottom-line guidance.

The results announced by the company remain preliminary and subject to change until the final voting results are tabulated and certified by the independent inspector of election.

Madrid – Zara has launched a new initiative. As part of its strategy to continuously offer “the best possible experience for our customers,” in the words of Óscar García Maceiras, chief executive officer of Inditex, the Spanish fashion multinational's flagship chain has just launched “The Fold-er”. This is a new section on its online platforms, designed as a digital magazine with curated content from influencers and renowned trendsetters.

The new editorial section is now live and accessible globally on both the online store and the official Zara App. For now, it is located within the womenswear division. It is available alongside categories such as 'new in'; 'trends'; 'collection'; 'shoes and accessories'; 'perfumes'; and the 'Zara Pre-Owned' initiative for upcycling and second-hand clothing. 'The Fold-er' has been added as a new chapter to these divisions. This gives the new section the same structural importance as the other sub-sections within the popular fashion chain's dynamic and constantly evolving digital ecosystem.

For the launch of 'The Fold-er', which Zara presents as “a space for recommendations and personal perspectives,” the fashion chain is offering four 'editorial columns' in this new advice and trends section. The articles are from New York and London, written by the 'godmothers' of this new style platform. They are influencers, content creators, entrepreneurs and trendsetters Leandra Medine, an American influencer known for her now-defunct blog 'The Man Repeller'; Arielle Charnas, a New York-based entrepreneur who created the blog-turned-fashion brand 'Something Navy'; Belgian fashion influencer Manon De Velder; and French trendsetter and industry professional Laura Roso Vidrequin. Vidrequin is the founder of the children's fashion brand 'Kids O'Clock' and has previously worked as a salesperson, buyer and consultant for brands, publications and institutions such as Jean Paul Gaultier; Chanel; Harper's Bazaar; Moda Operandi; Ralph Lauren; the British Fashion Council; Net-a-Porter; and the British luxury department store chain Harvey Nichols.

Following the typical format of a fashion magazine, each contributor offers their unique perspective on trends and how to dress for the start of the summer 2026 season from their respective 'editorial columns'. These are published under the titles: “The best looks appear at the beginning of a season” (Leandra Medine); “When it comes to getting dressed, I've always been more guided by how I feel than by the type of occasion” (Arielle Charnas); “These looks reflect the version of New York I'll miss the most” (Manon De Velder); and “The simple act of putting on clothes can be a way of communicating with the world” (Laura Vidrequin). They share these insights alongside their own photographs, wearing a curated selection of clothing and accessories from Zara's seasonal collection. The chain includes a direct link at the bottom of each photograph, creating an aesthetic similar to the 'bazaar' pages in leading fashion magazines.

Zara's 'casita'

At a time when comments and images of the hugely popular 'casita' from Bad Bunny's concerts are spreading across social media, a parallel can be drawn. This is between the Puerto Rican singer's distinctive live performance feature and the new 'The Fold-er' section from Zara. In fact, this new feature is presented less as Zara's 'digital fashion magazine' and more as its very own 'casita', at least for now.

To understand this perception, we must first define what Bad Bunny's 'casita' is. It has generated significant commentary during his sixth global tour, 'Debí tirar más fotos World Tour'. After two concerts in Barcelona and eight in Madrid, the tour will conclude in Spain with two final performances on Sunday, June 14 and Monday, June 15, bringing the total to 12 concerts in the country. The show on May 30, his first in Madrid, was particularly discussed. Images of the 'casita' from that performance went viral. The space serves as a second stage where a select group of attendees, mostly celebrities and VIPs, are invited to join the singer. At that concert, the presence of Marta Ortega, non-executive chair of Inditex, attracted considerable attention. Ortega is seen as the driving force behind the Spanish fashion multinational's new strategies. She was spotted dancing with the Puerto Rican singer, wearing items from the Bad Bunny for Zara collaborative capsule collection.

To put it simply, Bad Bunny's 'casitas' serve as a powerful showcase for his communication strategy. They feature the most popular faces from his audience, projecting their presence beyond the concert venues. The singer cleverly uses these profiles to create a desire to attend his shows. A clear parallel can be drawn with Zara's 'The Fold-er' initiative. The chain presents it as a major showcase featuring some of the most well-known figures in the fashion world. Following this initial group of 'godmothers', it appears the contributors will fit the profile typically sought by major fashion magazines for editorial content, combining established industry professionals with influencers and trendsetters. Their participation in 'The Fold-er' will serve a dual purpose for Zara. Firstly, it will offer a more immersive and enriched shopping experience. Secondly, it will continue to elevate the brand's image and value, linking its position within the fashion world to the Inditex group's flagship chain.

Enriching physical and digital shopping experience

Based on this analysis, the launch of 'The Fold-er' is part of Zara's initiatives for this year. It aligns with the strategic guidelines for the 2026 financial year, outlined by Inditex's chief executive officer, Óscar García Maceiras, on March 11, during the presentation of the company's annual results for the 2025 financial year. On that date, Maceiras stated that the company would continue to collaborate with relevant cultural figures and strive to offer the best possible shopping experience, both physically and online. These channels are viewed as a single entity contributing to the sales of the group's chains. In line with these strategies, Zara has strengthened its physical presence in the first half of the year with the reopening of its flagship stores in Rome and on London's Oxford Street, and the opening of a new store on Huaihai Road in Shanghai. The launch of 'The Fold-er' now reinforces its online channel.

As a key part of the strategy for 2026, the Inditex CEO stated in March, “we will continue to create new ways of interacting with our customers.” As part of this commitment, he mentioned, “we will have new flagships,” specifically referring to the newly opened Shanghai store. He also added, “we will continue to collaborate with global figures from the world of design, culture and art.” This comment initially seemed to point towards new collections. However, it has gained a new dimension with Zara's collaborations with Bad Bunny and John Galliano, and now with the launch of 'The Fold-er'. This initiative allows Zara to collaborate with a diverse range of profiles. It also aligns with Inditex's strategic objectives for 2026: to continue working “every day to offer the best possible experience to our customers, both through physical stores and online,” and to solidify Zara's position as a brand “that has a globally relevant cultural impact, which is higher than ever.”

Paris - A leather handbag reconstructed from “Tyrannosaurus rex” cells failed to sell at auction in Paris on Thursday. The proposed price was significantly lower than its estimate, according to Drouot, the auction house where the sale took place.

With a starting price of 100,000 euros from the auction house Giquello, this “unique piece” did not exceed 150,000 euros during the sale, despite being valued at 300,000 euros.

Unveiled in Amsterdam a few months ago, the handbag was created from collagen remnants discovered in the femur of a T-Rex in Montana, US, 25 years ago.

“In recent years, we have acquired techniques and biotechnologies that allow us to instruct a cell culture to build, so to speak, authentic T-Rex skin in the laboratory,” Iacopo Briano, a palaeontology expert associated with the sale, recently told AFP.

The Drouot auction house described it as “an unprecedented object in the history of luxury” and a “scientific feat” that enables the creation of leather “without any reliance on animal husbandry,” according to a statement.

“Cellular leather opens up a new avenue: one of exclusivity that is no longer based on extraction or intensive farming,” it adds.

According to Briano, this material is different from vegan leather, which is made from plastic. “Here, we start with a cell culture, so it is 100 percent skin. At the same time, it comes from an animal that disappeared 67 million years ago!” he stated.

The US lifestyle brand Vera Bradley has announced its financial results for the first quarter of the fiscal year ending January 30, 2027. The company recorded its first quarter of overall revenue growth since the fourth quarter of fiscal year ended January 29, 2022, signaling a pivot in its ongoing operational turnaround.

Consolidated net revenues from continuing operations rose to 55.70 million dollars for the period, representing a revenue increase of 7.8 percent.

“I’m pleased to report that our first quarter results demonstrate continued momentum in our Project Sunshine transformation to reclaim Vera Bradley’s joyful optimism while building operational excellence,” said Vera Bradley chief executive officer Ian Bickley. “We achieved our first quarter of overall revenue growth since Q4 FY22, marking an important inflection point in our turnaround.”

Strategic initiatives drive customer acquisition and store changes

The revenue growth was supported by structural changes within the direct and indirect sales channels of the group. Direct segment revenues increased 4.1 percent to 44.90 million dollars.

Like-for-like sales grew 13.4 percent during the quarter. This performance was driven by stronger e-commerce conversion rates, higher average ticket values, and increased foot traffic across full-line and outlet locations. During the first quarter, the company closed three underperforming full-line stores to optimize its brick and mortar network.

Indirect segment revenues increased 26.6 percent to 10.80 million dollars, driven by improvements in department stores and specialty retail, while cut-to-order sales supported expansion across major accounts.

Product adjustments also influenced the performance, as the brand successfully modified nearly 80 percent of its spring collection. Brand collaborations with Target and Bath & Body Works drove customer acquisition, with approximately 80 percent of the consumers engaging through these partnerships being new to the label.

Profitability metrics improve

Consolidated gross profit grew to 28.80 million dollars, representing 51.8 percent of net revenues. On a non-GAAP basis, gross margin expanded by 430 percentage points.

Operating loss from continuing operations was reduced by 74 percent to 4.60 million dollars, while on a non-GAAP basis, the operating loss stood at 3.30 million dollars, marking a 76.1 percent improvement.

Outlooking stable fiscal year 2027 performance

For the full fiscal year 2027, Vera Bradley updated its forward-looking guidance based on the start to the year. The company expects full-year sales to land in the range of 255 million dollars to 270 million dollars.

The projected sales range accounts for the corporate decision to cancel the annual outlet sale event, a rebuilding of the wholesale business under revised leadership, and a strategic reduction in liquidation channel volume. Driven by operational efficiency, the company now projects its non-GAAP operating loss to improve by at least 50 percent compared to the prior year loss of 21.70 million dollars, outperforming previous guidance of 40 percent improvement.

Polish fashion retailer LPP Group has reported a 10.5 percent year-over-year (YoY) increase in revenue for the first quarter of 2026, reaching 5.5 billion Polish zloty (1.50 billion dollars). The growth was primarily driven by the ongoing expansion of the brick and mortar retail chain, particularly the Sinsay brand, alongside an increase in total commercial floorspace.

However, the rate of sales growth fell below initial company expectations due to unseasonably low temperatures at the start of the spring/summer 2026 season. February and April recorded temperatures below long-term averages, restricting consumer demand for early summer collections. Consequently, LPP recorded a 2.8 percent decline in like-for-like (LFL) sales for the period.

Brand performance and omnichannel development

Performance varied significantly across the corporate brand portfolio. Positive LFL growth was driven by 14.6 percent increase at House, 3.1 percent at Reserved and 0.7 percent at Cropp.

Conversely, negative LFL ratios were registered by Sinsay at minus 6.8 percent and Mohito at minus 15.5 percent.

Despite the LFL drop, Sinsay remained the largest revenue contributor, generating 3.13 billion Polish zloty, which represents a 13.9 percent YoY increase. Traditional brick and mortar sales for the group rose by 15 percent YoY, supported by 121 new store openings, 102 of which belonged to Sinsay.

Online sales grew by a modest 0.7 percent YoY to 1.46 billion Polish zloty. The e-commerce channel remained impacted by prolonged order fulfillment times in South-Eastern Europe, stemming from a warehouse fire in Romania in June 2025. Additionally, a strategic reduction in performance marketing spend to prioritise online profitability compressed e-commerce to a 26.6 percent share of group revenue, down from 29.2 percent in the prior year.

Geographically, international sales outpaced domestic growth, increasing 13.9 percent YoY to account for 56.8 percent of total omnichannel revenues, with Romania, Ukraine, the Czech Republic, and Hungary emerging as top-performing markets.

Record gross margin and rising operating profits

LPP achieved a record gross profit margin for a first quarter, rising by 4.5 percentage points YoY to 58.5 percent. This profitability milestone was reached despite an increasing volume of lower-margin Sinsay products.

Driven by strong margin performance, operating profit (EBIT) grew by 47 percent to 688 million Polish zloty, resulting in an EBIT margin of 12.6 percent. Total net profit for the quarter closed at 475 million Polish zloty, up from 335 million Polish zloty in the prior year period.

Technical investments and future targets

During the first quarter, LPP accelerated its logistics automation strategy by expanding its autonomous robot fleet more than sixfold to over 3,500 units across Poland and Romania. The group also initiated the construction of a new e-commerce fulfillment centre in Tczew, scheduled to open in the first quarter of 2027.

For the full 2026 financial year, LPP targets total sales of approximately 26 billion to 27 billion Polish zloty, backed by a planned 15 percent increase in retail floorspace that includes around 750 new Sinsay stores. The group projects a full-year gross margin of roughly 56 percent and capital expenditure of 2.5 billion Polish zloty.

Looking further ahead to 2027, the company forecasts revenues to reach between 30 billion and 31 billion Polish zloty. In addition, during the years 2028–2029, the company aims to open around 750 new Sinsay stores in 2028, and around 300-350 per year from 2029 onwards and anticipates positive LFL growth, and 15–20 percent growth in online sales.

The US omnichannel footwear retailer Shoe Carnival has received shareholder approval to change its corporate name to Shoe Station Group. The name change takes effect on June 12, 2026, marking a transition in the group's long-term commercial strategy.

In connection with the name change, the common stock of the company is expected to begin trading on the Nasdaq Stock Market under the ticker symbol SHOE on June 12, 2026. Shares traded under the previous symbol SCVL until the close of the market on June 11, 2026.

Multi-banner strategy drives long-term expansion

The structural update aligns with a broader plan to focus on diversified retail formats.

“The new name and new ticker are reflective of our multi-banner strategy with Shoe Station as our primary long-term growth vehicle and Shoe Carnival continuing in markets where it is dominant. We will also seek to expand our business through strategic acquisitions of other footwear retailers,” said Cliff Sifford, interim president and chief executive officer of Shoe Station Group.

In addition to the rebranding protocol, the board of directors approved the payment of a quarterly cash dividend of 0.17 dollars per share. The dividend will be paid on July 20, 2026, to shareholders of record as of the close of business on July 6, 2026.

The distribution represents the 57th consecutive quarterly dividend issued by the retail group.

The US supply chain solutions partner Li & Fung has announced the expansion of its licensing partnership with US lifestyle brand Vera Bradley into apparel. This development builds on the performance of its existing soft home business, which launched in early 2025.

The agreement, facilitated by Vera Bradley’s licensing agency IMG Licensing, extends the collaboration into several apparel categories. The initial focus will be on tops, sweaters, and outerwear launching for holiday 2026, before expanding to include swim and dresses for cruise 2027. The collection will be available across full-price, specialty, off-price, and club channels.

Building on the momentum in home, the new apparel line brings the signature prints and design language of Vera Bradley into everyday wear. The collection focuses on recognizable patterns, color, and quilting details, adapted for a broad, multigenerational customer, and designed to sell across channels.

Executive perspectives on brand expansion

“We’ve seen strong traction in home, and expanding into apparel is a natural next step,” said Jason Kra, president of Li & Fung. “What we bring is the ability to scale this across categories and channels, without losing what makes the brand distinctive.”

Mel Limoncelli, senior vice president, head of licensed brands at Li & Fung, added: “At the end of the day, it comes down to making the product work. We take what customers already love about Vera Bradley and translate that into apparel that fits how people shop today.”

This expansion builds on the growing pipeline of licensing partnerships for Li & Fung, as brands look for a partner who can move quickly and execute across multiple markets in a more complex environment.

“Apparel is a meaningful expansion for Vera Bradley,” said Melinda Paraie, chief brand officer of Vera Bradley. “We've built strong momentum in the home category, and we're confident this partnership will help us deliver quality apparel that reflects our brand's DNA. It's about meeting our customers where they are and giving them more ways to express their personal style.”

The new apparel line will debut for holiday 2026.

Apart from the gong, it is completely silent in the dome of the Botanic Sanctuary in Antwerp. A humming sound fills the space. A high-pitched female voice begins, accompanied by a man playing exotic instruments. The first model appears in deep contemplation, arms crossed behind their back, gaze fixed on their feet. They are wearing loose-fitting trousers with a black waistcoat, held together by a delicate moss-green silk thread.

What unfolds next resembles a family constellation. Each model is assigned a place in the space and instructed to interact with the others, with the theatricality of a Galliano show: long strides, everything in slow motion. Two men in complementary outfits circle each other. Leather and patent leather face each other. Persian carpets meet kimonos: shahs and geishas. A men's waistcoat with brocade-like floral fabric features furry faux-fur sleeves. Nadav Perlman, a 2021 graduate of the Royal Academy, aims to bridge differences between cultures, diverse types of people, the present and the past with his fashion.

Experience

Perlman's performance officially opens the Antwerp Fashion Festival on Friday, June 5. He is one of a pool of talents that make Antwerp a fashion city. The positive image of Belgian fashion is still too closely tied to the success of 'The Antwerp Six' from forty years ago. With the festival, running from June 4 to 7, the city celebrates a breath of fresh air in addition to its heritage. Presentations, installations, talks and exhibitions can be seen at 85 locations, along with specially decorated shop windows. Pitstops are identifiable by signs in primary colours — acid yellow, petrol blue, hot pink — with 'Antwerp Fashion Festival' in italics. There has been nothing similar since 2009. Consequently, it is drawing large crowds.

The programme reveals the progressive intentions of the organisation, led by Flanders District of Creativity. The ultimate goal is to boost Belgian retail. First, however, the image of contemporary, independent Belgian fashion needs to be sharpened. Hence the focus on a broad audience, incorporating art and experiences alongside clothing. "It was not meant to be a 'fashion week'," explains Elke Timmermans. She also helped refresh Berlin's fashion week with exciting show locations and community-building, a blueprint she brought with her. "We are far too close to Paris. There is no interest in another Fashion Week." Instead, Flanders sought an approach that the fashion city could lean on from a cultural and business perspective.

Visitors are coming from France, England, Italy and the Netherlands. Ambrose Jude Van Tiberias, an all-round creative in fashion, is impressed. "Compared to the commercial nature of Amsterdam, fashion here is more based on craftsmanship. I feel a spark of joy — there is hope and future potential for a unique, creative, independent industry. The level of fashion here no longer exists in Amsterdam."

More accessible than Paris

At the intimate presentation by Jan Jan van Essche in the Vleeshuis Music Museum, Bas Slootman and Alexandra Schott are gathering inspiration for their new fashion platform, Arcatype. They find that designers often stand next to their work, which adds something to the experience. "By hearing their story so directly, you understand the design philosophy better. Even if it's not entirely your own aesthetic, you can appreciate the thought behind it."

They find the elegance of Belgian fashion intriguing. "There is very little of that left in the Netherlands." Slootman points to the installation by Kié Einzelgänger in Tommy Simoens' gallery, a dilapidated commercial building spanning four floors. "The quality of the clothes was unparalleled, the concept well thought out. It made a deep impression on me."

For Schott, the city is a breath of fresh air compared to the haughtiness of Paris. She studied fashion design in New York and is looking for different perspectives at the festival. "Antwerp offers accessibility; it is less confrontational than Paris with all its luxury houses. This makes it easier for designers to challenge the fashion landscape."

Heart of the city

The festival is also a tribute to the city and its architecture. Marie Bernadette Woehrl presents her theatrical performance with dancers and an opera singer in the pouring rain, in an old castle garden behind the Ercola art centre. In Het Huis Happaert, fashion brand Bernadette, by mother and daughter Bernadette and Charlotte De Geyter, shows a short analogue fashion film: The Hostess. Before the screening, you lift a heavy velvet curtain. Behind it, the elegant gowns of the bored main characters are on display.

A real highlight is La Collection: contemporary fashion in an imposing avant-garde building owned by the Ruys jewellery family, designed by architect Ferdinand Truyman. Downstairs, drapes of hemp-silk and sharp blazers are displayed alongside historic sewing machines, flasks and Art Nouveau bars. The shop assistant is busy, although she cannot say whether such a distracting monument also leads to more sales.

Antwerp is synonymous with grandeur, as a historic port and trading city, home to Peter Paul Rubens and the diamond industry. At the same time, an equally rich modern 'vibe' manifests itself in design concept stores; numerous coffee shops; and the undulating glass facade of the Provinciehuis, where Christian Wijnant is showing on the roof. This is also evident in the prominent galleries on the Waalsekaai, particularly that of Sofie van de Velde. This month, you can acquire sketches by Walter van Beirendonck for 700 euros each.

Emerging talent Julie Kegels explains her work with an art installation at the modern Cour Gallery. For "After Work", she transformed the space into the living room of her hypothetical female client — a busy bee, always on the go. She also satirises the way the fashion business aestheticises everything: make-up stains on the bed, a stray stiletto. It is an artistic, bold choice; no new fashion is involved.

Talent

Over three days, visitors are presented with promising talent. Marcel Sommer makes his dark debut in the church, with bright backlighting like purgatory from the wings. Florentina Leitner built a playful installation for the MoMu: models on a silver foil castle, a cuddly toy under their arm. 'You are a Star' is written on the T-shirt. Tom Van Der Borght brightened up the interior design shop Donum with inclusive mannequins and provided the Antwerp Central station hall with an inflatable: a Ponyfish the length of a bus.

The KMSKA art museum had recent graduates design fashion to accompany self-selected artworks. A number of them are also participating in The Carousel, a digital fashion show on standalone screens designed by Shoottheartist and funded by Porsche. It is held outside on the street, accessible to people from the suburbs as well. "I think that's great," says fashion photographer and producer Bjorn Tagemose. In the dome, he feels the spirit of the Antwerp Six returning, especially that of Marina Yee.

"Just like this new generation, she wanted to give it her all. At the trade fair in London forty years ago, the Six were on the first floor and no one came to see them. It was Marina who went downstairs and got everyone to come up, after which the English press wrote: this is underground. What is happening there is cool." He feels the same way about new faces like Pommie Dierick, Facon Jacmin and Mattia van Severen.

It is a fine art to connect Antwerp's fashion heritage with the new. The exhibition about the Antwerp Six at the MoMu is highlighted in bright pink in the programme booklet — young talent feels supported in their footsteps. At the sold-out show by the academy students, held twice over the weekend, it all comes back. Students hope to be associated with the activism of Yee — a pioneer in upcycling vintage gems — and the rich materiality of Dries van Noten, which is steeped in historical references without becoming dated.

W for Walter

What is Antwerp as a fashion city without Walter van Beirendonck? He asked himself the same question and answered it with a home game for his 40th-anniversary show, in a dilapidated Boerentoren on Thursday evening. Heels are forbidden, and tickets are hard to come by. The show is on the seventh floor. Enthusiastic applause comes before and during the show from veterans, with a moved Ann Demeulemeester in the front row.

Exuberantly cheerful knitwear from forty years of his oeuvre passes by on the grey concrete floor. This ranges from long jumpers with protest texts against the manosphere ('Bad Bad Boys', autumn/winter 1986-1987) to the full-body floral knits in 'Scarecrow' (autumn/winter 2026-2027). In the show notes, Van Beirendonck prioritises joy and hope. Tonight I'm showing 40 years of dreams. The masks, the monsters, the lovers, the warriors, the dreamers. 40 years of fantasy with a fist.

In many respects, he is the shining centrepiece of the festival. This is due to the collection and his presence at other stops, talking to visitors and celebrating fashion. "There is nothing nostalgic about his presentation," he later explains at Sofie van de Velde's gallery. His show provides pure evidence that imagination knows no age and that fashion has an important function. "A whole life can be spent dreaming the world awake."

Interview What kind of employees is Belgian eyewear brand Odette Lunettes looking for? “Authenticity, alongside professional expertise as a prerequisite, is our most important criterion,” says Eline De Munck. “We want someone who is genuinely themselves.”

The team is a mix of different backgrounds, ages, appearances and personalities. This diversity not only creates a strong team dynamic, where experience and fresh energy complement each other, but it also makes the team representative of its customers. “The idea is that you can walk in, just like at a hairdresser, and intuitively choose who cuts your hair based on recognition or a personal connection.”

“Our people are everything,” continues De Munck. “It always sounds like a cliché until you run a company yourself and realise how crucial people are.” This is especially true in sales, where employees must convey the heart of the company and a passion for the brand. According to De Munck, this cannot be replaced by technology or AI. “It is not just about “explaining” a product, but about conviction, feeling and personal experience that engages people.”

Complexity and career progression in retail

The retail sector is known for its high staff turnover, but De Munck does not see this reflected in her company. “Our product, a pair of glasses, is a medical device where eye measurements are interpreted, lenses are recommended, ordered, ground, fitted and followed up on.” According to her, this inherent complexity fosters greater engagement while also offering opportunities for career progression. Employees can develop internally, including through training to become opticians.

According to De Munck, opportunities for progression are important today. Employees also want autonomy (‘ownership’), freedom and to feel seen and heard. This can clash with the reality of retail, where fixed hours and weekend work are the norm. “Still, within that context, we try to create as much space as possible for freedom, variety and innovation.”

Babies at Work as an experiment in work and parenthood

This search led to the pilot project Babies at Work, which launched in April. “As my own boss, I was able to bring my second child to work. It made me think as a business owner when I noticed a colleague did not have the same opportunity.”

Specifically, employees can bring their baby, aged three to six months, to the store two days a week. This is only possible when at least two colleagues are present ‘to ensure smooth operations on the shop floor’, and not at weekends.

The initiative aims to offer parents a transition period after their statutory leave. This allows them to spend more time with their baby during the first few months, a phase De Munck considers crucial for care. The initiative also provides a flexible solution in a sector where working from home is not an option and childcare shortages are a real issue. “It is primarily intended for parents who cannot afford to be absent longer than the statutory twelve weeks and who need flexible solutions,” says De Munck. “I want to show that employers can also think in terms of solutions, rather than waiting for government measures.”

According to her, the project also touches on a broader societal discussion about how work and parenthood can be combined. “Work and private life are still strictly separated, but perhaps that does not have to be the case for everyone.”

The reactions so far have been overwhelmingly positive. “Customers often react with surprise or enthusiasm when they see the initiative in-store. Some even come in specifically because of it.” At the same time, some customers and employees are less enthusiastic or ask critical questions. “Those reactions are also valuable,” she says pragmatically. “It is useful feedback and shows that the topic resonates with people. Our main goal was to open up the debate.”

Communication and expectations

Open communication plays a key role at Odette Lunettes, De Munck shares. “Employees sometimes need to get used to my directness, but it usually does not take long before they also feel comfortable communicating openly and honestly. This automatically fosters more trust and, consequently, more freedom in our collaboration.”

There is also clarity regarding performance. The company works with KPIs and targets that vary by role and are set at both individual and team levels. “The expectations are clear from the start. If we have to make a difficult decision, such as letting an employee go, it is substantiated, and we communicate it honestly and respectfully.”

Advice for employers and employees

What is the most important lesson De Munck has learned over the years as a co-owner? “Do not be too quick to get indignant about things. You have to be willing to let go of your own frame of reference.”

As an employer, she believes you cannot assume that everyone thinks, wants, or works in the same way. “People make choices based on their own context, and you have to respect that. It requires empathy. It also builds trust and mutual understanding.”

She also warns against an overly rigid or one-sided HR approach. “That often causes people to become disengaged or to leave.”

She urges employees to be open and to communicate. “If your employer does not know what is going on, they cannot change anything.”

“Be receptive to feedback,” says De Munck. “Trust that it can help you grow, both as an employee and as a person.”

Sources:
- Interview with Eline de Munck, Odette Lunettes, May 18, 2026.
- AI tools were used for transcribing the interview and as a writing aid.

Los Angeles-based fashion brand James Perse is strengthening its international physical retail network. According to an official press release, the brand opened its first French flagship on June 5, 2026, at 26 rue François Ier, in the heart of the capital's 8th arrondissement.

The approximately 650 square metre space is spread over three levels and has been designed to recreate a residential and intimate atmosphere, centred around a private courtyard garden. The location combines refined materials such as lime plaster walls, oak woodwork and Hungarian point parquet flooring. The entire James Perse offering is available, including ready-to-wear collections for men and women; footwear; accessories; lifestyle products; and exclusive custom-made pieces.

This launch marks a key milestone for the Californian company, founded in 1994, which now has a network of over 60 stores worldwide. Following recent openings in Palm Beach, Saint-Barthélemy and Seoul, the brand plans to continue its international expansion later this year with future locations planned in Abu Dhabi, Mexico City and São Paulo.

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

Interview

Brandon Wen succeeded the legendary Walter Van Beirendonck as the first non-Belgian and youngest head of department in the history of the Antwerp Fashion Academy. This year, the students he started with are graduating. FashionUnited speaks to him in Antwerp about his first cohort and the creation of his own debut collection.

Wen has no time for an interview when we join him at a cast-iron table in the sun in early June during the Antwerp Fashion Festival. The show for his first master's students at the Royal Academy of Fine Arts (KASK) is tomorrow. He is surrounded by buyers who want to see his debut collection, which he is presenting as part of the festival. After all, he graduated from the Academy with flying colours himself in 2019.

“I believe in you”

He speaks about his graduating class with a mix of hope, anxiety and emotion. “I have only known the school with them in it. It will be strange not to see them here anymore.” Now, it is a waiting game to see what happens to them. “As a teacher, you have so many expectations of a student. It is not in a bad way, but more like: I believe in you, so I want the work to be good. It is not about what I want it to be. They have to figure out for themselves what they need for their careers right now. That is difficult when you are so attached to them.”

Predecessor Walter Van Beirendonck left a clear mark on the programme: conceptual freedom, extreme creative expression and character. What about Wen? “I have been told there is a clearer focus on material. I love textiles. I love manipulation. You do not explicitly change the courses, but such a preference seeps through when you ask questions: Have you done any manipulations yet? Show me something. This is beautiful, but try something new.”

Freaks

“I am not a micromanager. If you are good, you should just do it your way. We are all free at the academy. You can feel that from the teachers and the way they teach.” Wen is happy with the building blocks already in the programme. Year two is the toughest. You learn to make neat jackets, work in layers and build collections: the so-called collection arc. “If you do not master that, you cannot enter the profession.” In year three, the students are allowed to let loose. “That is where they all become freaks. And that is a good thing.”

Among the master's students are names to watch. Some are so incredibly talented—Wen will not reveal who—they are actually too good to be doing minor tasks in the back of a prestigious studio. “I love this generation. They work incredibly hard. Their characters are super intense, and therefore interesting. I am terrified of what will happen to them next. Will they get a nice job, a bit corporate, a bit crazy? For some, I think: nowhere is good enough for you. You hope they end up in a good place, somewhere their fire will not be extinguished.”

During the Antwerp fashion festival from June four to seven, Van Beirendonck spoke nostalgically about his time at the Academy in the show notes. It made him a different person. Wen experienced the same and wants his students to have the same memories. “Surrounding yourself with free, creative, hardworking people—that has always been the school's motto. And I am a product of it myself.”

Royal Academy of Fine Arts: Masters 2026

On June five and six, 16 master's students graduated with a fashion collection from the Antwerp Academy (KASK). Lars Mertens, Stan Peeters, Tristan Stieners and Yvonne Schichtel received rave reviews. Their names were buzzing through the white halls of the academy on Saturday when the exhibition was open to family and press, with serious judging taking place in between. The doors would then close for a while.

Mertens' looks are characterised by an interplay of lines and bold material experiments—fulfilling Wen's heartfelt wish. He presents sculptural silhouettes embellished with wooden decorations, which immediately reveals his background in architecture. At KASK, he learned to be independent and to deliver a complete concept. He even designed a perfume with a designer bottle. He feels comfortable among so much talent. “There is strict filtering at the front door; that is how the Academy maintains its quality.”

Schichtel's work, with its lightness and layers of tulle and organza, refers to a soft form of femininity and 'goddess shapes'. KASK felt like a warm bubble. “It is such a luxury to selfishly focus only on your own work for four years. Now I am going back into the world.” She hopes for a position at Chanel and a work visa as soon as possible.

For Stieners, the work atmosphere will be most important. His layered collection, made of richly textured fabrics, is being compared to that of Dries van Noten—which is what he was hoping for. They were allowed to visit with the Academy. “The studio had a very familial atmosphere, which I would like, so you are not swallowed up by a huge team.”

All things equal

Antwerp had not seen a major fashion celebration since 2009. Wen seized the momentum by also showing his own work at the Antwerp Fashion Festival. His debut collection, 'All Things Equal', was presented with an art installation at the five-star hotel Botanic Sanctuary. It includes three couture pieces and a ready-to-wear line. “It has a philosophical slant,” says intern Guste Maroscikaite. She is there all day, helped with production and can explain the meaning behind it. “Brandon experimented with flatness—how far can you 'push' a square, two-dimensional piece of fabric before it becomes a garment.” Inspirations included the Japanese animation studio Ghibli and the art of ikebana flower arranging. Wen created variations on the hat: ikebanas.

The three couture pieces form the heart of the collection. “I dare not guess how many hours of work went into them,” says Maroscikaite, who did a significant part of it herself. She describes the most spectacular piece as cosmic shorts with a sculptural top in organza and raffia. The headpiece is inspired by a character from a video game from Wen's childhood. The third piece in the gallery, featuring white and blue flowers, a baby pink skirt and emerald green ruffles, made the biggest impression on the audience.

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The ready-to-wear line was available for pre-order at the festival. It featured mostly angular silhouettes that fit various body types, airy cotton tops and kimono-style jackets, as well as wide trousers with a sharp cut. For now, Wen is deliberately keeping it to a select group of buyers because he wants to keep the line between himself and the customer as short as possible. “First, I want to discover who the people are that like my clothes, who wants to wear and buy them.”

If it had not been for the festival, he probably would not have presented his debut so publicly. “I already did a private preview at my home and left it hanging for two weeks so people could come back. We chatted, they tried things on. I sold quite well that way. Now I know there is something to build on.” He has his doubts about the conventional sales path of 'the more, the better'. “It is so difficult as a young brand to be in many shops and pay for the entire production upfront. You do not know what will come back in sales. In that sense, it never really becomes a commercial success, even if you are on the racks everywhere.”

Paint splatters

On the wall of the installation, surrounding the clothes, hang large sheets of paper with paint splatters and strokes—intuitive, direct expressions from Wen. “I was in a creative block after I had already done a lot of the more ready-to-wear pieces. So I thought, let's physically change the environment so I can mentally enter a different space. I hung up large sheets, put pots of paint on the floor, and had Björk playing very loudly. I stood there screaming at the paintings. It only seemed fair to show everything here because it is all part of the process.”

A little naïve

His process goes in all directions. “I make grateful use of my ADHD. I work fine at two in the morning. I have easy sessions and then a very bad one; I do a lot of flower arranging, take a photo or paint, I sketch a lot.”

Wen makes headpieces and decorations with bent cane and raffia in cheerful colours, supplied by the vendor—he calls it “disco raffia” himself. He shaped them into sculptural forms in his own bathtub: you wet it, apply pressure to the material, and it dries that way. “The shapes follow the line movements in my (clothing) designs and those of my brushstrokes. Plus: I love the coarse, outdoor feel of raffia.”

These materials and the high-quality fabrics come from suppliers Wen has personally visited: parties from Belgium, who find his position at the Academy interesting, and Spain, part of his roots. He finds those connections important. “I love the story of Made in Belgium, Made in Spain; it is where I am now and where I come from. It just feels right. I understand why many designers move production elsewhere, but I allow myself to be a little naïve.”

Chinese e-commerce giants Pinduoduo and JD.com were among five major platforms summoned on Thursday for talks over misleading advertising, Beijing's market watchdog said.

Social media sites Douyin and RedNote, along with Alibaba-owned e-commerce platform Taobao, were also summoned.

The talks with company representatives, held by the Beijing Municipal Administration for Market Regulation, come as local and national authorities crack down on excessive "involution-style" competition.

Official efforts to tame "involution" -- a popular tag used to describe the race to outcompete that ends up nowhere -- has hit major Chinese firms across online shopping, food delivery and electric vehicles.

The Beijing watchdog said it had identified issues including false advertising for promotional events, irregular rules and failing to disclose merchant information, according to a statement.

It proposed "rectification requirements" aimed at preventing and mitigating risks during the so-called "6.18" online shopping festival this month.

Some of the platforms had launched "10 billion (yuan) subsidy" campaigns for the shopping event but did not detail actual subsidy amounts or the length of the promotion, the statement said.

AFP has reached out to the firms for comment.

River Island is thrilled to announce its latest style partnership: an exclusive summer edit curated by TV and podcast personality and bride-to-be Molly Smith, who just celebrated her hen do ahead of her big day. Ahead of her upcoming Summer nuptials, Molly has teamed up with River Island to curate a capsule wardrobe designed specifically for the ultimate hen do getaway and bridal season.

Captured by the cobblestone charm, the collection channels an effortless, sun-drenched holiday aesthetic. The edit seamlessly bridges the gap between relaxed, bohemian day-dressing and high-glamour evening looks, offering the definitive high-street solution for modern brides and bridal parties alike. Made for daytime exploring, beach clubs, and boat parties, the edit focuses on a breezy, romantic palette of crisp whites, soft creams, and delicate neutrals.

The daytime collection features a romantic crochet-and-lace co-ord, highlighting beautifully detailed, semi-sheer white lace wide-leg trousers paired with a matching fluid cami top, effortlessly accessorised for a distinct, undone elegance flair. For a touch of understated luxury, tailored resort separates include a structured cream short-and-jacket set finished with intricate gold coin-and-mirror embroidery.

The daytime look is completed by boho-chic sundresses, such as a floral applique dress adorned with floral details, alongside playful print sets featuring a matching vertical-striped linen short, bikini top, and open resort shirt combo perfect for looking put-together by the pool effortlessly.

Molly shared, “It's a genuine dream come true to be launching my hen-do-inspired edit with River Island. I've been a huge fan and customer of the brand since I was a teenager, so having the opportunity to work with them to bring this edit to life has felt totally surreal. Together, we've curated a range of beautiful daytime and evening looks, perfect for brides-to-be, hens, newlyweds, and, of course, anyone who loves wearing white this summer. I hope everyone loves the collection as much as I do!”

As day turns to night, the edit shifts into high-octane bridal glamour, mixing textures, metallic shimmer, and statement details designed to turn heads. The evening range introduces a statement shell-embellished cami top, offering a sleek white sleeveless shift silhouette with an asymmetric, heavily fringed hemline that flows beautifully with movement.

For a contemporary, high-shine alternative to traditional bridal whites, a striking liquid-silver co-ord showcases a metallic grey cowl-neck top and matching draped mini skirt. Opulent textures continue with a sheer gold sequin camisole dressed down with relaxed, wide-leg white denim trousers for an effortless, undone evening look. Finally, the collection delivers the ultimate sheer bridal dress with a breath-taking white mesh midi covered in statement floral applique motifs and finished with dramatic, floor-skimming fringe trim.

Labrum has been named the winner of this year’s BFC/GQ Designer Fashion Fund. The brand’s founder, Foday Dumbuya, will be the recipient of a 100,000 pound grant prize, a year-long mentorship, pro-bono legal services, and access to specialist advisors.

Launched in 2014, Labrum is known for sharing the untold stories of the diaspora merging African values with British tailoring. The brand was selected for Dumbuya’s ability to “elevate his collections while maintaining a distinct creative vision” that reflects the “originality that British fashion is known for”, BFC chief executive, Laura Weir, said.

She continued: “Through stories rooted in heritage, community and diaspora, Labrum continues to shape a powerful cultural dialogue with lasting impact. We are proud to work with the team at British GQ to support the brand’s continued growth and help accelerate its momentum at this important stage of its journey.”

In a statement, Dumbuya said winning the award was an “incredibly special moment”, adding: “As a brand built on the stories of migration, identity and cultural exchange, this recognition is a reminder that those stories matter.

“The fund will give us the platform, resources and confidence to continue building Labrum into a truly global British brand, allowing us to invest in our team, strengthen our business and reach new audiences while staying true to the community and values that brought us here.”

Labrum is the first designer to receive the BFC/GQDFF since the council introduced its new strategy, BFC 2030: Access, Creativity, Growth, pivoting efforts from designer promotion towards more tangible support. The fund sits within Prizes & Programmes, a pillar designed to support the development of commercially resilient businesses.

Executives from leading UK retailers have called on the government to address policies believed to be making it harder to hire young people. Over 80 business leaders have signed a letter co-ordinated by the British Retail Consortium (BRC) warning that taxes and red tape are pushing up the cost of entry-level jobs.

Chief executive officers from All Saints, Ann Summers, Dune Group, JD Sports, Dr Martens, Marks & Spencer, Matalan Retail, Monsoon Accessorize, Reiss, TFG Brands, Seasalt, The Very Group, and Mamas & Papas are among those to have signed.

Karen O’Rourke, managing director of H&M UKIE and another signatory, said: “Too many young people are still being locked out of opportunities, and at H&M we see firsthand how important it is to create clear, inclusive pathways into work.

"Retail has a unique role to play in opening those doors, which is why we fully support the BRC’s call for stronger partnership with government to remove barriers and expand access to meaningful jobs. By working together, we can help more young people build the skills and confidence needed for long-term, sustainable careers.”

Concerns over youth unemployment rates were emphasised in an interim report by Alan Milburn, which suggested that 1.25 million under-25s could become unemployed in the next five years. Rising business costs, including an increase in National Living Wage, and changes to employment rights are also said to be impacting hiring methods.

The retail sector, which has historically remained entry-level, has particularly been hit hard by sweeping cuts. According to the BRC, around 400,000 jobs have been lost over the past decade, reducing entry-level opportunities for young people.

In response, business leaders are calling on the government to strengthen support by establishing a joint government-retail taskforce to enhance employment routes. The letter also requests for a reduction in employment costs and the implementation of reforms that support entry-level recruitment.

Helen Dickinson, chief executive of the BRC, added: “Retail and its supply chain account for almost a quarter of all youth employment, making our industry uniquely placed to support young people through flexible, entry-level roles and clear routes for progression. But this first step on the ladder is cracking under the weight of government-imposed costs and regulations.”

Dickinson continued: “Youth unemployment is a challenge that government and business must tackle together. If government wants more young people in work, it must create the conditions that allow businesses to hire, train and develop the next generation.

“Retailers stand ready to work in partnership with government through a joint retail-government taskforce to strengthen routes into employment, remove barriers to hiring and help more young people take that crucial first step into the world of work.”

In 2026, J.LINDEBERG turns 30 years. As part of the anniversary celebrations, the brand introduces a special anniversary capsule that revisits one of the most memorable style moments in golf: Jesper Parnevik’s appearance at The Open Championship in 1998.

Jesper Parnevik wearing J.Lindeberg’s pink pants on the PGA Tour was a defining image in the brand’s history that helped shape a new fashion language for golf. The 30-year anniversary capsule reinterprets this moment through a modern lens, translating its attitude and colour into contemporary silhouettes designed for today’s game and the lifestyle surrounding it.

The capsule features statement polos, striped knitwear, pleated dresses and tailored shorts, complemented by dresses and lightweight layers that move easily from course to clubhouse and summer evenings. A palette of pink, black and crisp white anchors the capsule, a nod to the original look. The capsule will also appear on one of golf’s biggest stages this summer, as J.Lindeberg ambassador Viktor Hovland will wear it during the 126th U.S. Open Championship at Shinnecock Hills Golf Club in Southampton, New York, from June 18–21.

“Reworked for today across both menswear and womenswear, the collection blends golf and ready-to-wear through a modern, confident lens”, says Neil Lewty, Creative Director at J.Lindeberg. “Finished with the unmistakable cap and exclusive 30-year anniversary branding, each piece honors our heritage while pushing the legacy forward.”

The capsule is part of the Summer Holiday 2026 collection, continuing the narrative introduced in SS26. Set at the height of summer, it reflects a rhythm shaped by movement: mornings on the course, afternoons by the water and evenings that stretch long after sunset. Away from routine, the ordinary becomes extraordinary. Designed for this flow, the styles capture the ease, contrast and energy that define the J.Lindeberg lifestyle.

The 30-year anniversary capsule will launch globally on June 2nd and will be available online and in selected J.Lindeberg stores worldwide.

Fashion is an industry with only one constant: change. Not long ago, fast fashion revolutionised retail by doubling production. Now brands face a different kind of disruption: products they have already sold find a second life without them. The infrastructure being built around that second life is what has allowed this market to evolve this fast. That infrastructure is AI, and the B2B wholesale layer – connecting secondhand supply with retail demand – is where that transformation is happening first and fastest.

What the data is telling us

Before examining the technology, it is worth understanding the scale of the behavioural shift already underway.

Across luxury and high-street brands, searches for secondhand are now consistently outpacing searches for new. For instance, comparing "Mango Vinted" or "Zara Vinted" to "Mango new collection" or "Zara new collection" shows secondhand queries running 4-6 times higher in search volume throughout 2024 and into 2026, with Vinted searches hitting peak popularity in mid-2025 while new collection searches remained a fraction of that.

At luxury level, Hermès vintage searches significantly outpace new bag searches – more than doubling them at their recent peak – while even Chanel, where new and vintage searches had tracked closely for years, saw vintage interest reach near-parity with new in early 2026.

Google Trends measures search interest on a scale of 0 to 100, where 100 represents the peak popularity of a search term during the selected period.

What this data is showing is that consumer intent around secondhand has fundamentally shifted – people are starting their fashion journey at preloved, not arriving there as a fallback – and for brands, this is a signal about where they need to be present and what infrastructure they need to build to participate in that market.

Not only that, but how people talk about secondhand has shifted just as what they search for. Before 2020, the dominant language was negative: charity shop, hand-me-down, compromise, stigma; by 2024-2026, that vocabulary had been replaced almost entirely by the language of identity, aspiration and discovery: preloved, vintage find, curated, unrepeatable – confirming the shift in cultural perception, according to my analysis of media coverage, market reports and consumer communities before and after Covid.

Globally, secondhand clothing sales are forecast to hit 289 billion dollars this year – 105 percent growth from 2021 – expanding at twice the pace of the overall clothing market, according to the ThredUp Annual Resale Report 2026. And the AI layer appears to have accelerated this growth further. Search interest in "AI shopping" was effectively zero across all markets until mid-2024, began building through late 2024 as generative AI tools entered the mainstream, then surged from June 2025 onwards, growing over 3,000 percent in two years before sustaining near-peak levels.

But the most striking finding in the data is the correlation between the two. Both "AI shopping" and "secondhand clothing" were effectively flat for four consecutive years. Both began moving in the same month – July 2025 – surging simultaneously in August 2025 and sustaining elevated levels ever since. The data suggests that AI was not a mere coincidence with secondhand acceleration, but may have played a significant role in enabling its growth at scale.

Why secondhand cannot scale without AI – the B2B infrastructure problem

The consumer shift is evident and supported by data. What is less visible – and what matters more commercially – is the infrastructure problem that has historically made secondhand so difficult to scale – and why AI is not an optional layer here but a structural requirement.

The resale market is notoriously complex. Platforms must manage vast, unpredictable inventory that ranges in quality, size and authenticity, at a complexity that has no equivalent in new retail. To understand how all looks like operationally, I spoke to Sanket Agarwal, co-founder of Fleek, one of the fastest-growing AI platforms in secondhand wholesale and one of the primary sourcing platforms for Vinted resellers. He helped me grasp exactly why the B2B layer of this market required a fundamental technological rebuild.

The core problem, as Sanket explains, is one of scale with no equivalent in the traditional fashion business: "In classic retail, shops usually have a few defined SKUs, but in secondhand there is such a large variety of eras, brands, styles and wear that it leads to millions to billions of SKUs – essentially each piece is unique even if it is the same brand SKU". And that uniqueness is exactly what makes every single item so difficult to categorise, price and match to a buyer. Unlike Amazon or Asos, where AI operates on structured, consistent product catalogues, secondhand wholesale has no shared product data, no standardised SKUs, no taxonomy linking condition to buyer intent, which is what has made it so hard to scale, and precisely what makes AI so transformative here.

Beyond the uniqueness issue, resellers struggle with variables such as lighting inconsistencies in photos or wear patterns. Authentication requires human expertise at the final stage, even when AI handles the initial scan. Pricing is a constant calibration problem. And layered over all of this, the traditional wholesale secondhand supply chain is not only messy, outdated, and incredibly complex, but it was constructed on personal relationships – trust between buyers and sellers built over years of informal dealing.

This is where Fleek comes in. The platform was founded in November 2021, born out of a problem co-founder Abhi Arora discovered in Brick Lane, London's vintage fashion hub, during the pandemic: the secondhand supply chain was built on chaos. Preloved clothing collected in western countries – around 90 per cent of all donations globally – is shipped in bulk to sorting centres in Pakistan, India and across Africa, where it is hand-sorted and sold back to western resellers, whether secondhand shops or the wholesalers supplying Vinted sellers. The hand categorisation was tedious and inaccurate, and the more granular and accurate the grading, the better the clothing sells – so the stakes of getting it wrong were high. Resellers often had no idea what they were getting, transactions happened over WhatsApp groups and informal networks where trust was everything and transparency almost nothing, and only a very small fraction of those donations ever made it back to being resold in western markets. The system was inefficient and structurally broken.

As Abhi mentioned in an interview for The Industry.Fashion, the platform was built to work directly with these wholesale suppliers, getting inventory listed, categorised, priced and sold through Fleek's own system. A reseller in London, Paris or New York can browse curated bundles or hand-pick items via video call and place an order. That order goes through one of Fleek’s quality control centres, where items are checked for quality and authenticity, and then it is dispatched to the buyer.

How does AI materialise on Fleek?

Fleek rebuilt the entire sourcing experience from the ground up. "At Fleek we had to reimagine our entire search and discovery experience, which is now driven by AI-first search technology. We are leveraging CLIP embeddings* to define semantic properties of fashion such as 'embellishments' or 'mushroom print' – a much harder task for pre-LLM** models". A buyer can now search by mood, style or aesthetic reference rather than product specification – the way people actually think about secondhand. Not only that, but the platform gives a pricing estimate, handles transactions, streamlines the supply chain, manages refunds and provides trust on both ends. The commercial results are visible: “more than doubling sales from 2024 to 2025”, connecting over 10,000 resellers with more than 1,000 wholesalers across 70 countries, having raised 50 million dollars in total funding, backed by investors including Andreessen Horowitz and Y Combinator. Sanket is direct on the opportunity for retailers still sitting on the sidelines: "Today, one out of every two individuals is looking for secondhand – it is good for the environment and good for business. We are already seeing Fleek's customers sell secondhand and first-hand clothes side by side".

*(CLIP stands for Contrastive Language-Image Pre-training – it is a model developed by OpenAI that was trained on hundreds of millions of image and text pairs simultaneously, so it learned to understand the relationship between visual content and language. Traditional image recognition asks "what object is this?" – it recognises a bag, a shoe, a jacket. CLIP goes further – it understands the feeling and character of what it sees. So instead of just recognising "jacket," it can understand "oversized 90s Japanese streetwear jacket with acid wash" or "mushroom print" or "embellished evening wear”).

**(LLM stands for Large Language Model – the type of AI that powers tools like ChatGPT, Claude and Gemini).

What this means for your business

Secondhand existed before AI – but without the infrastructure to source, authenticate, grade and price inventory at scale, the demand had nowhere to go efficiently. What Fleek proves at the wholesale level is that when you remove the structural friction, the commercial volume follows.

That said, the challenges have not disappeared. Logistics remain complex and costly – secondhand items cannot be restocked, and the quality of how an item is displayed still affects grading accuracy and drives returns. Consistency at scale is difficult to guarantee even with computer vision. Authentication at the final stage still requires human expertise. Margins across the industry remain under pressure, and most large resale platforms are still on the path to profitability rather than there. AI improves all of these problems significantly – but it does not eliminate them, and brands entering the space without a clear operational strategy are likely to find it harder than the market numbers suggest.

What AI does is make those challenges manageable – not disappear entirely, but structured enough to build a scalable business on top of. It is now operating across every layer of the resale stack – at sourcing, platforms like Fleek use computer vision and semantic search to make bulk secondhand inventory discoverable at scale; at the brand level, Resale-as-a-Service platforms like ThredUp handle intake, grading, photography, pricing and fulfilment using AI automation, making it possible to launch a resale programme without building anything from scratch. Authentication, historically the biggest barrier to trust in secondhand, is being handled by computer vision models that triage suspect items before human experts review them. Dynamic pricing algorithms replace the guesswork that made secondhand margins unpredictable. The commercial case is already proven: Aymeric Déchin, CEO of Faume, told Vogue Business that customers who use a brand's trade-in service show 20 percent lower churn compared to those who do not. Collectively, these capabilities do something more significant than optimise individual transactions; they normalise secondhand as a reliable, trustworthy channel for both brands and consumers, and Fleek is only one example of it.

The regulatory layer is accelerating all of this. The EU's Ecodesign for Sustainable Products Regulation requires every fashion brand selling in Europe to attach a Digital Product Passport (DPP) to every garment from 2028 – a machine-readable identity recording materials, origin and ownership history. For AI, this is transformative: a garment with a passport can be authenticated, graded and priced automatically, because the data is already there.

One-third of industry executives called resale a priority for 2026, according to BoF/McKinsey State of Fashion 2026. That gap – between where the consumer already is, how AI is accelerating it, and where most of the industry is still focused (new) – is the opportunity, and it is closing fast. If you are still treating secondhand as secondary – or AI as optional – the data is clear: you are not behind the trend, you are behind the consumer.

Sources:
-The Guardian — Sarah Butler, “Secondhand Clothes Sales Forecast to Hit $289bn as AI Helps Shoppers Find Deals,” 2 April 2026.
-Retail Dive — Tatiana Walk-Morris, “US Resale Market Expected to Surpass $78 Billion by 2030,” 3 April 2026.
-Adobe — Vivek Pandya, “Generative AI-Powered Shopping Rises with Traffic to Retail Sites,” 21 August 2025.
-Modaes — “Inditex 2025 results: eight critical takeaways to watch,” C. De Agenlis / T. Alonso, 12 March 2026.
-Retail Boss — “Inditex Q1 2026 Results: Zara’s Best Quarter Yet,” Jenel Alvarado, 3 June 2026.
-Vinted Newsroom — “Financial Results 2025,” 2026.
-UNECE (United Nations Economic Commission for Europe) — UNECE and ECLAC propose measures to reduce environmental and health impacts of global trade of second-hand clothes’, 15 July 2024
-TheIndustry.fashion — “The Interview: Co-founder Abhi Arora on Building Second-Hand Wholesale Marketplace Fleek,” Camilla Rydzek, 16 April 2026.
-WWD — “How Vestiaire Is Using AI to Scale Its Business and Improve Customer Service, by Lisa Lockwood, June 14, 2024.
-The Impression — Vestiaire Collective Expands AI Capabilities With New Executive Hires.
-Vogue — “The Innovations Driving the Resale Renaissance,” byt Maghan McDowell November 19, 2024.
-GWI — How the circular economy is transforming fashion: Sustainable trends & insights by Stephanie Harlow, Senior Trends Analyst.
-McKinsey & Company — The State of Fashion 2026: When the rules change, November 17, 2025 by -Trellis — Circular boom(let): Resale and reuse surge as new fashion turnover slows, by Elsa Wenzel November 21, 2025 (Updated on November 24, 2025)
-Barclays Insights — The pulse of fashion: How the growth of the resale market has changed the game for retailers, by Melissa Pendlebury and Isabella Clough, April 2, 2026.
-Fashionista — “Fashion Resale Tech: AI and the Future of Evolution,” by Emma Raydar, June 4, 2025.

With the opening whistle of the FIFA World Cup 2026 blowing today, a month-long celebration of football–or soccer–begins across the host nations of the US, Canada, and Mexico. The event is expected to contribute 30.5 billion dollars to the US gross economic output alone, according to Goaleconomy, with retail and real estate positioned as sectors expected to see significant gains.

Viewed by many as a once-in-a-generation cultural moment for North America, the tournament has prompted retailers to capitalise on the excitement. Through unique in-store activations, brand collaborations, and supporting local foundations, major retailers are connecting with both domestic and international fans to leverage the football frenzy.

Macy’s: World Soccer HQ

Macy’s World Soccer HQ is a football-centric omnichannel experience held at the retailer’s Herald Square flagship store in New York, offering a curated collection of sportswear, interactive features like an immersive tunnel and events starring athletes.

Beyond the retail experience, Macy’s has also partnered with the US Soccer Foundation as part of efforts to make sport more accessible to underserved communities. Next to a donation, the retailer hosted youth from the organisation's Just Ball League in a session with soccer player Riley Tiernan.

The Original Farmers Market: LA World Cup 26 Fan Zone

The Original Farmers Market, located at 3rd & Fairfax, is hosting its own LA World Cup 26 Fan Zone between June 18 to June 21. Over the four days, live match viewings, beer gardens and soccer-themed experiences will be on hand at the market.

Dick’s Sporting Goods: Where It All Kicks Off

Dick’s Sporting Goods has partnered with Adidas on the ‘Where It All Kicks Off’ campaign, featuring a slew of the sportswear brand’s own ambassadors, including footballers Lionel Messi, Cobi Jones and Lamine Yamal. The video follows characters through various settings, from a Dick’s Sporting Goods store to a video game setting to a football match.

The campaign extends into in-store experiences with Adidas, as well as a partnership with DonorsChose, with which Dick’s intends to expand access to football by funding up to 250,000 dollars in US youth soccer projects. Teachers at eligible schools will be able to submit funding requests for related programmes from June 11.

Target: Summer Goals Tour

Target’s Summer Goals Tour will be hosted in four cities across the US–Los Angeles, where the event was already held on June 6, Houston, Atlanta, and Clifton–and timed ahead of major matches on the FIFA schedule. The experience is set within a branded area housing a small pitch, partner booths, and a player’s tunnel. Interactive challenges and complimentary snacks will be on site, as will access to merchandise like a Mexico Floral Jersey T-Shirt.

Simon x Adidas: Block party experiences

Real estate investment firm Simon will be bringing fan experiences and programming to a number of its shopping centres throughout June in partnership with Adidas. Events will be held at Del Amo Fashion Center, Houston Premium Outlets, Sawgrass Mills, and Phipps Plaza, each playing host to fan zones, Adidas product experiences, and performances.

Adidas retail locations at 90 Simon-owned centres will also offer enhanced in-store activations, including limited edition products, collectible merchandise, and prizes.

Walmart: Legendary Kickoffs

Walmart has over 200 soccer-related events planned across its Legendary Kickoffs programme hosted in collaboration with LALIGA. An additional Coke & Walmart Soccer Match Event Tour will be brought to 11 US cities in Walmart parking lots, where kit customisation offerings are available.

The retailer is further working with Soccer Forward and Boys & Girls Clubs of America to support 20 soccer activations across the country, and has been named an official partner of the Leagues Cup and Major League Soccer, with which it has a merchandise deal for soccer products. Having launched earlier in the year, the latter partnership intended to help Walmart build familiarity and trust with soccer fans before the World Cup began.

Nordstrom: Adidas’ The Corner installation

Nordstrom’s collaboration with Adidas will stretch across 35 of its stores located in match cities, taking shape in events like a Downtown Seattle pop-up and an immersive installation at The Corner in New York. The partnership offers a curation of Adidas products, spanning men’s, women’s and kids, including FIFA-branded jerseys. Throughout the tournament, weekly activations will take place every Thursday, featuring giveaways and sweepstakes. Additional weekend events will align with featured countries, bringing complimentary gifts and customisations to the setup.

Pacific Retail Capital Partners: Where the World Unites

Real estate developer Pacific Retail Capital Partners (PRCP) will be hosting activation hubs in more than 10 cities across the US, designed to drive engagement and sales throughout its portfolio. Next to watch parties and penalty kick simulations, the sites will also offer exclusive merchandise and gift card giveaways. Additional activations will be hosted in match cities, including at New York’s Bridgewater Commons centre and LA’s Plaza West Covina centre.

The house of Saint Laurent (Kering group) is evolving its management structure. The company has announced the appointment of Anouck Duranteau-Loeper to the position of deputy chief executive officer in charge of product, as reported by WWD. This decision will officially take effect on July 1.

This announcement follows that of her departure from the brand Isabel Marant at the end of May, where she held the position of CEO for about ten years. She had joined the French house after holding the position of managing director of fashion at Paco Rabanne since 2013.

Duranteau-Loeper is also the president of the Womenswear Committee of the Fédération de la Haute Couture et de la Mode (FHCM) and is therefore part of its Executive Committee, the decision-making body of the FHCM.

A graduate of the École supérieure de commerce de Paris (ESCP), Duranteau-Loeper also held the position of director of leather goods and accessories at the luxury house Celine between 2009 and 2014. This was a period during which the brand's artistic direction was overseen by Phoebe Philo.

More information to follow on this page.

The association Paris Good Fashion asked participants in its citizen consultation the question: “How can we make dressing sustainably and ethically desirable?”. Over 168,000 participants took part in the exercise.

The main finding was that respondents' primary expectation is for more information, transparency and education, as they find the current offering complex to understand.

Second citizen consultation led by Paris Good Fashion

From February 19 to April 16, 2026, the Paris Good Fashion association conducted a second citizen consultation, following the one in 2020. This was in partnership with Make.org, the city of Paris and with the support of several companies (Etam, Groupe Eram, Kiabi, Lacoste, Printemps, Galeries Lafayette, Le Bon Marché, SMCP, Karla Otto).

The question posed to participants was: “How can we make dressing sustainably and ethically desirable?”. The consultation involved nearly 170,000 participants in several countries: around 107,000 in France, 32,000 in Italy, 17,700 in the US and 11,499 in the UK.

481,156 votes were recorded, resulting in 1,680 proposals submitted, 1,449 validated after moderation and 915 receiving over 70 percent approval.

The first finding was that women were the majority of participants, accounting for 82 percent, compared to 17 percent men and one percent non-binary individuals.

The second finding was that those over 55 represented 52 percent of respondents. The 35-54 age group accounted for 32 percent of the sample, versus 16 percent for 18-34 year olds.

Information, transparency and education: need to simplify the message becomes more urgent

Information, transparency and education was the theme with the most proposals, at 31 percent in 2026 compared to 15 percent in 2020. Citizens stated they do not understand sustainable fashion and requested simple, reliable and comparable information.

“The first thing that stands out is that the people consulted do not understand sustainable fashion,” commented Isabelle Lefort, co-founder and executive director of Paris Good Fashion. “They do not know how to buy sustainable fashion and there is a general sense of suspicion about the information provided.”

Additionally, 43 percent of proposals related to information on fashion's impact. A further 28 percent called for greater product transparency. “People want education, information, explanations, guidance and training,” added Lefort.

Circular economy: repair and second-hand remain priorities

The circular economy was the second most cited theme, with 219 proposals making up 23.9 percent of the total. Its significance is considered broadly stable compared to the 2020 consultation, at 23.9 percent in 2026 versus 25 percent in 2020.

The primary topics mentioned were repair, second-hand fashion and clothing rental, with the latter identified as a point of controversy.

Pace of fashion: consumers call for a slowdown

This was the third most mentioned theme, with 13.9 percent of proposals. The subject is not limited to ultra-fast fashion. Participants condemned the volume of products, the proliferation of collections, marketing pressure and the feeling that “fashion is moving too fast”.

According to the organisers, respondents from the US and the UK support this idea of a slowdown even more than those from France or Italy.

In parallel, an emerging trend was that participants are calling for more clothing adapted to diverse body shapes. This theme was absent from the 2020 consultation.

They specifically mentioned issues with accessing clothing due to the available sizes and cuts. “Customers want to find clothes they like, but when they get to the store, they cannot find anything to wear,” noted Lefort.

Health: clothing quality becomes a central criterion

The organisers had expected the issues of price and ultra-fast fashion to feature prominently. This was not the case.

The citizen consultation revealed a strong demand for sustainable clothing, natural materials and products deemed to be of higher quality and more desirable. “There is a desire for creative, quality products that last. People are willing to pay a fair price, provided they are sure of what they are buying.” This directly contradicts the idea that price is the respondents' main concern.

In this regard, health is an emerging concern, particularly in relation to textile composition and regulatory compliance.

A total of 38 consensus-based proposals directly mentioned skin allergies; PFAS (per- and polyfluoroalkyl substances); endocrine disruptors; and carcinogenic risks associated with clothing.

According to PGF and make.org, this subject was completely absent from the previous consultation five years ago.

Relocalisation: respondents expect increased support from public authorities

Relocalisation accounted for 12.5 percent of proposals. Manufacturing in France is associated with quality, compliance with standards and local employment. “Producing in France is synonymous with quality and respect for employment regulations.”

In general, 255 proposals called for greater intervention from public authorities to regulate, supervise, arbitrate and support the ecological transition.

To present the full results of this citizen consultation, Paris Good Fashion has scheduled its next key event, the Midsummer Camp, for July 8 and 9, 2026, at the Domaine de Chaalis.

VF Corporation has announced the inauguration of a new addition to its EMEA headquarters in Stabio, Switzerland. The 2,500 square metre space includes offices, flexible coworking areas, a multifunctional auditorium and spaces dedicated to wellbeing and sport.

The site is “designed to bring people together and support how we work, connect, and grow”, VF said in a post on LinkedIn. It expands on an existing campus that already houses over 1,000 associates from over 40 nationalities, the company added.

The news comes amid an ongoing turnaround strategy at the apparel conglomerate, which returned to revenue growth for the first time in three years for FY26. The period was characterised by portfolio optimisation, most notably the sale of Dickies and Supreme, and an alignment of the Outdoor and Active categories.

Total revenues rose 4 percent to 9.3 billion dollars, while its adjusted gross margin reached 55.2 percent. Its operating income came to 650 million dollars, with an adjusted operating margin of 7 percent, reflecting a 110 basis point increase.

VF’s CEO, Bracken Darrell, said brands like Vans, which had been at the centre of dedicated turnaround efforts, were particularly showing momentum, with the footwear label now on track to achieve its medium-term targets, including an exit run rate of a 10 percent operating margin.

Paris - A leather bag reconstructed from Tyrannosaurus Rex cells is being auctioned on Thursday at the Hôtel de Drouot in Paris by the auction house Giquello. The house estimates this “unique piece” to be worth between 300,000 and 500,000 euros.

Unveiled in Amsterdam this spring, the bag was created from collagen remains found in the femur of a T-Rex in Montana, in the US, twenty-five years ago.

“In recent years, we have successfully developed techniques and biotechnologies that allow us to instruct a cell culture to build, so to speak, real T-Rex skin in a laboratory,” Iacopo Briano, a palaeontology expert associated with the sale, recently explained to AFP.

In a recent press release, the Drouot auction house, where the bag is being sold at 6pm CET, described it as “an unprecedented object in the history of luxury”. It is also a “scientific feat” that allows for the creation of leather “without any recourse to animal farming”.

According to the statement, “cellular leather opens up a new path: one of exclusivity that no longer relies on harvesting or intensive farming”.

According to Iacopo Briano, this material differs from vegan leather, which is made from plastic. “Here, we start with a cell culture, so it is 100 percent skin. At the same time, it comes from an animal that disappeared 67 million years ago!” he stated.

Due to a lack of precedent, Alexandre Giquello, whose house is organising the auction, explained that it was necessary to “invent a price”. The sale price had to reflect both the investment required to create the bag and its rarity.

“300,000 euros is a great deal of money. At the same time, it is a unique item in the world. Since rarity commands a high price, this is the result,” he told AFP.

MA International Luxury Business graduate Karina VanDenEeden shares how navigating business, culture and technology shaped her path to a Consumer Revenue Associate role at Vogue Business.

What made you choose Vogue College of Fashion for your studies?

I chose Vogue College of Fashion because I wanted to study luxury within an institution that was directly connected to the industry — not just academically but culturally. Vogue represents authority, evolution and influence within fashion, and I wanted to be in an environment that challenged me to think at that level.

The MA International Luxury Business program felt future-focused. It wasn’t just about heritage brands — it was about how luxury is shifting through technology, community and changing consumer values. That felt aligned with how I see the industry evolving.

What were the most valuable skills you gained during the MA International Luxury Business program?

The program shifted my mindset from looking at brands in isolation to understanding the cross-dynamics between consumer behavior, business strategy, cultural relevance and global markets. It helped me see the bigger picture — and how every decision within luxury is connected.

Can you describe a project or collaboration that had a significant impact on your learning experience?

My final master’s project had the greatest impact on me. I explored how legacy fashion media can remain culturally relevant in a digitally native world, which led me to develop “Vogue Vault,” an AI-powered digital styling platform concept.

That project pushed me to combine theory, consumer research and practical brand strategy. It required me to think not just creatively but commercially and technologically. It also deepened my interest in how fashion media can evolve rather than compete with social platforms.

In many ways, it shaped the lens through which I now look at the industry.

How did the faculty and industry professionals influence your career path?

The faculty brought both academic depth and real-world experience, which created a balance I found incredibly valuable. They didn’t just teach theory — they challenged us to apply it critically.

Guest speakers and industry professionals helped demystify the industry. Hearing directly from people navigating luxury businesses made the career path feel tangible. It reinforced the importance of adaptability, curiosity and strategic awareness.

Being invited to work with Vogue Business soon after graduating is a significant milestone. Which skills, perspectives, or areas of focus developed during your time at Vogue College of Fashion do you feel contributed most to this opportunity?

One of the most important things I developed during my time at Vogue College of Fashion was confidence — not just in my abilities but in my perspective. The program challenged me to think critically and sit comfortably in the gray areas of the industry where business, culture and creativity intersect. That ability to analyze beyond black‑and‑white narratives became incredibly valuable.

I also learned the importance of self‑advocacy. I was very clear about the kind of future I wanted, and while I knew my dream role was possible, the real question was how to position myself for it. I made a conscious effort to show up consistently, offer support where it was needed and put myself forward for opportunities — even when it felt intimidating.

Persistence was key. I didn’t wait for the perfect moment; I created visibility through action. That combination of strategic thinking, confidence in my voice and willingness to keep putting myself forward ultimately contributed to the opportunity to join Vogue Business.

As you transition from postgraduate study into working with a global fashion intelligence platform, what has surprised you most about the realities of the industry so far?

What has surprised me most is the pace. The industry moves incredibly fast — culturally, digitally and commercially.

At the same time, I’ve realized how much strategy sits behind what looks effortless on the surface. Every partnership, every editorial decision and every commercial move is deeply intentional.

It’s made me appreciate even more how important it is to stay informed and adaptable.

What advice would you offer to emerging fashion and luxury professionals seeking to distinguish themselves and create meaningful opportunities in an increasingly competitive landscape?

The industry is saturated with aesthetics but strategic thinking and industry literacy set you apart. Understand business models. Follow consumer behavior. Stay curious about everything!

At the same time, build your personal perspective. People are drawn to clarity of vision. If you understand what you stand for and where you want to contribute, opportunities begin to align more intentionally.

What advice would you give to current Vogue College of Fashion students?

You are studying within a network that sits at the heart of the fashion conversation. Ask questions. Build relationships. Push your ideas further than what feels comfortable.

And don’t underestimate how much your time there can shape your confidence. The industry can feel intimidating but you belong in the room just as much as anyone else.

Explore Vogue College of Fashion

What was the return on the last pop-up? Which deals were finalised in the meeting with a supplier three months ago? What observations did the sales team relay from their latest conversation with a key client? In most companies, answering such questions still requires a fragmented search. Information is typically scattered across documents, emails, management tools and conversations between departments.

This everyday problem was precisely what led Diego Arroyo, chief executive officer of the Barcelona-based firm Laagam, to develop an infrastructure capable of turning corporate knowledge into a real-time accessible resource. The system centralises information from across the entire organisation. It allows users to query the history of decisions and operations using natural language. It also links data from different areas and executes actions immediately, from generating reports to drafting contextualised commercial communications.

Now, the company has decided to release this technology as open source. This move transcends the fashion industry, a sector historically driven by creativity and product. Increasingly, competitive advantage no longer depends solely on having information, but on the ability to transform it into actionable knowledge.

95 tools, 3,000 documents, zero engineers

According to the executive's own LinkedIn account, the company has been operating for months on what he describes as an “AI operating system”. This architecture connects 95 digital tools, processes more than 3,000 internal documents and executes operational tasks automatically by department. The main engine is Claude, Anthropic's artificial intelligence model. The team has fed it with years of their own corporate memory, all without a single engineer on staff.

Cases like this are currently proliferating at a speed that would have seemed exaggerated just a year ago. Since large language models became accessible without needing to write code, a team without a highly technical background can connect its internal data to an AI model and achieve real operational results. This is possible simply by having a clear idea of the problem to be solved. What once required a technology department now primarily requires judgement.

Fashion companies that have accumulated data for years—including emails; meeting transcripts; sales histories; and supplier communications—are beginning to understand that this disorganised archive is actually their most valuable asset. The key is not the AI model, which anyone can use, but the proprietary context that feeds it. That context is non-transferable and very difficult to replicate.

631 euros per month

However, Arroyo himself is honest about the real scope of the impact. The system has not directly boosted sales. Its value lies in freeing up decision-making time for the management team by absorbing the routine operational workload. It does this for 631 euros per month, the cost of maintaining the AI infrastructure.

Laagam has published the complete system openly under the name Compai. It includes the 53-chapter manual, templates by department and the technical architecture, so that other SMEs can replicate it.

International fashion retailer Primark, founded in Ireland, has announced the appointment of Lucy Slinger as its new chief financial officer (CFO).

Slinger will play a critical role in driving the long-term growth strategy of Primark as the business expands internationally and prepares to become a standalone entity. She joins the business from her previous role as deputy CFO of Sweden-based Ikea franchisee Ingka Group, which operates across 32 countries.

Strengthening leadership team for international expansion

Prior to her role at Ingka Group, Slinger spent more than two decades at UK-based energy company Shell in various senior finance leadership roles. Her experience includes financial reporting, corporate finance, group planning and appraisal, as well as serving as CFO of the global aviation business. Slinger brings expertise in finance transformation, operational and financial performance management, and strategic capital allocation across complex global businesses.

Following the appointment of Filip Ekvall as chief commercial officer (CCO) in March, Slinger further strengthens the leadership team of chief executive officer (CEO) Eoin Tonge.

“I’m delighted to welcome Lucy to Primark at such an important moment for the business,” said Tonge. “She brings deep financial expertise from large global organisations, alongside an impressive track record in disciplined investment and operational performance. As we accelerate our growth strategy and prepare for a standalone future, her leadership will be invaluable.”

Strategic growth and standalone future

Slinger expressed her enthusiasm regarding the transition, noting that the international fashion retailer is built on making great fashion accessible while continuing to drive quality and sustainability.

“I am excited to be joining Primark at such a pivotal point in its journey,” Slinger stated. “Primark is a unique business with a strong growth ambition and distinctive customer proposition. I look forward to working with Eoin and colleagues across the business as Primark continues to grow internationally and invest for the future.”

Founded in 1969, Primark has grown into an international retail operation with more than 480 stores across 19 countries in Europe, the US, and the Middle East. The retailer currently employs more than 80,000 colleagues and maintains a strong focus on physical brick and mortar stores to anchor high street shopping experiences.

It starts with something simple: wanting your bedroom to feel good the moment you walk in. Not just comfortable, but warm. Personal. A space with atmosphere, character and a style that feels like your own.

And that is exactly where comfort and character come together.

The collaboration between HappyBed x A fish named Fred combines the softness and comfort HappyBed is known for with the playful energy and bold personality of Fred. Think rich fabrics, expressive prints and details that instantly bring more life into the room, while still keeping the calm and comfort a bedroom should have.

Fred is no longer only in your wardrobe, now also in your bedroom. Sleep tight. Dream bold.

Many bedrooms today focus on calm tones and simplicity, which can create a beautiful and relaxing atmosphere. But adding a little more colour and personality can completely change the feeling of a space. It makes a room feel warmer, more inviting and more memorable.

And that is exactly the feeling this collaboration creates.

The bedding feels soft and premium, while the designs add just enough character to make the room stand out without overwhelming it. Stylish enough to elevate the interior, comfortable enough to never want to leave the bed in the morning.

To complete the look, the pillowcases are also available separately, making it easy to mix, match and add a subtle touch of Fred to any bedroom.

It almost feels like bringing fashion into the bedroom, in the best possible way.

The collaboration also reflects how closely fashion and interior are starting to connect. People no longer only want products that function well. They want products with feeling. Products that say something about who they are.

That is why this collection is about more than simply sleeping. It is about creating a bedroom that feels expressive, comfortable and full of personality.

The collection features three signature Fred prints available through A fish named Fred, alongside an extended range of ten exclusive designs created together with HappyBed.

Now going to bed with Fred suddenly sounds like a very good idea.

So whether you are looking to add a subtle touch of Fred or go fully bold in the bedroom, the full collection is waiting to be discovered.

Sleep Happy. Sleep Fred.

Graduating designers from ArtEZ University of the Arts are presenting collections that examine themes of identity, memory, transformation, spirituality, and self-expression, reflecting the increasingly conceptual direction of contemporary fashion education.

The 2026 cohort brings together emerging designers from across Europe, with collections drawing on personal histories, cultural heritage, mythology, and social experience. Several projects use fashion as a medium for storytelling, moving beyond traditional garment design to explore broader emotional and philosophical themes.

Among the designers is Dutch graduate Casper Naafs, whose collection SuperMen, SwagKnights, Young Boy Prince traces the evolution of personal style from childhood to adulthood through an eclectic mix of references ranging from luxury fashion and carnival dress to everyday clothing and self-made garments.

Cypriot designer Stasha Pigkou's collection The Great Escape explores transformation through the myth of Icarus, using asymmetrical forms and layered constructions to examine vulnerability, ambition, and the desire for renewal.

Several collections engage directly with personal and cultural memory. Ukrainian designer Sofiia Popil's Intermezzo reflects on the emotional impact of war and the role of hope as a coping mechanism, incorporating references to traditional Hutsul craftsmanship and material culture. Meanwhile, Julia Verberne's Memoria Blanca draws on memories of Nicaragua and her grandmother's wedding dress, exploring longing, displacement, and the fragility of remembrance through repeated pattern-making and reconstruction.

Other designers focus on personal transformation and spirituality. Dutch designer Luus van Steenbergen's Sacred Surface investigates the relationship between glamour and faith, using repetitive handcraft techniques as a form of ritual and reflection. Belgian designer Zaïna Timmermans' Adaptation centres on self-love and personal growth through colourful floral-inspired silhouettes and textiles.

Themes of childhood, imagination, and becoming are explored in Lizzy Isabel Voeten's Eclosion, a collection inspired by personal photographs, butterflies, and migration, while Polish designer Józefina Wojtkiewicz examines stillness, surrealism, and decontextualisation in One and Three Blank.

Slovenian designer Nina Železnik's SFINGA. approaches fashion through sculptural construction techniques inspired by concrete, architecture, and inherited traditions of making and repair. Her work investigates the boundary between garment and sculpture through hand-painted, engraved, and manipulated textiles.

Together, the collections highlight a generation of emerging designers increasingly concerned with narrative, material experimentation, and personal expression, demonstrating how fashion education continues to evolve beyond commercial trends toward broader cultural and artistic inquiry.

Under the theme “Palazzo Dreaming”, Marc Cain Collections opens the new season inspired by classic elegance, dreamy locations and timeless luxury. Flowing silhouettes, refined materials and a warm Mediterranean colour palette lend the looks a contemporary sense of ease.

Soft pastel and stone tones harmonise effortlessly, while raspberry red and bold fuchsia introduce feminine accents. Various shades of blue, such as navy and placid blue, create a calm depth and provide contrast. Black and white as a base form a purist, high-contrast foundation that highlights the coloured elements of the collection with clarity and precision.

Expressive prints make the themes unmistakable. Playful diamond motifs meet abstract checks, while different stripe patterns emphasise a Riviera- inspired charm. Stylised floral designs add a graphic interpretation of blossoms, offering a playful yet contemporary reduced aesthetic. Leopard print remains part of the Marc Cain DNA and is indispensable.

Spring “Knitted in Germany” knitwear made from soft alpaca and wool blends reflects the brand’s artisanal expertise. High-quality natural fibres such as silk, linen and cotton poplin are preferred materials for the warmer season. Denim remains essential, whether in light washes or dark blue. Utility details transform shimmering satin into modern coolness.

The silhouettes combine softness, sensuality and confident styling in harmonious balance. Lightweight outerwear is a key focus, above all the trench coat in various interpretations – whether short or in a bold leopard look as a reversible all-rounder. Leather jackets feature refined details such as handwoven textures, boxy cuts with cropped sleeves or decorative stitching. Easy-flowing dresses with flounces and ruffles as well as airy blouses with smocked embroidery express femininity. Moderate barrel, flared and wide-leg trousers, along with culottes, define current shapes. Midi and maxi skirts appear pleated or flared. Tailoring is interpreted in both softer and more classically structured ways.

With the right accessories, many looks can be effortlessly translated from day to evening. High heels, simple leather loafers and slingback ballerinas emphasise an elegant note. Styling accents include silk scarves tied at the waist, statement hats with pearl chains, and belts perfectly matched to the collection’s colour themes.

Marc Cain Sports

Marc Cain Sports for Spring/Summer 2027 is characterised by a sense of lightness that feels elegant and effortlessly modern. The signature sportswear character remains unmistakable while being reinterpreted in a fresh way.

The colour palette moves between soft natural and earthy tones, complemented by gentle, harmonious nuances. Cream, beige and shades of brown form a calm foundation, while light blues, warm rosé tones and subtle accent colours such as pale yellow add freshness and contrast. The result is a balanced palette that feels both understated and expressive.

The print language is diverse and playful at the same time: humorously interpreted motifs meet animal- inspired designs, reimagined in different facets and scales. In addition, graphic elements, typography, checks and stripes come to the fore and are especially highlighted in pattern mixes. Delicate gradients unite the tonal variations of the theme and act as perfect colour connectors.

Relaxedness is paramount in the silhouettes. Voluminous shapes, O-form silhouettes and fluid lines sit alongside clean, sporty cuts, creating an effortless mix of comfort and structure. Layered looks, modern preppy elements and functionally inspired details define the collection and offer a variety of styling options for everyday wear. Key trouser shapes include barrel legs, wide legs and moderately flared silhouettes. Long Bermuda shorts are essential as on-trend fashion pieces.

Also easy to combine are extra-wide shirt blouses with refined sleeve solutions or drawstring details. Midi- length balloon or A-line skirts pair well with sporty blazers or oversized bomber jackets. Reversible parkas and barn jackets further demonstrate versatility. Additional design features include drawstrings, cord ties, cargo elements and utility details.

Denim remains indispensable, whether used for jeans, shirts or jackets, printed or adorned with statement studs. Scuba jersey, airy alpaca-wool blends and comfortable cotton qualities facilitate seasonal transitions. Distinctive knitwear from Bodelshausen underlines the brand’s expertise in knitted garments.

The yoga capsule collection presents a relaxed side, designed both for training and everyday wear. This line stands out not only through materials and cuts focused on maximum comfort, but also through a warm colour palette and matching yoga essentials.

Accessories complete the outfits in a sporty way. Key pieces include bowling bags with charms, caps, and triangular scarves in knit or faux leather. Trainers come with glossy effects or in retro designs.

Interview

Laurent Vergne Reepmaker is the founder and designer of Laurent Vergne, a Dutch menswear brand with strong French heritage, founded in 2020. It sits in the accessible luxury segment, offering timeless, classic menswear, from blazers and coats to shirts, trousers and knitwear. The promise, in the founder's words, is to make a man “the best dressed in the room, at any time,” without the premium price tag.

Now the brand is starting a new chapter. After building a direct retail business across Belgium and the Netherlands, Vergne Reepmaker has entered wholesale through retail organisation EK Retail and is pitching the brand to retailers ahead of the summer buying season that follows the Pitti Uomo trade fair in Florence. In an interview with FashionUnited, he set out the brand's positioning, its commercial model and its expansion plans with Belgium serving as the first step before expansion into France, Germany, Italy and Spain.

A collection built on timeless essentials

At the core of Laurent Vergne's philosophy is a refined all-season collection, rather than the traditional spring/summer and autumn/winter split, a choice Vergne frames as both a sustainability position and a merchandising one: stock that sells across the year rather than being marked down at season's end. “You build a wardrobe with things you can wear all year,” he says.

Around 90 percent of the range is timeless essentials designed to combine into complete looks, blazers in herringbone and check, cognac and double breasted coats, flannel trousers, linen-cotton shirts and cable knits, with the remaining ten percent reserved for statement pieces such as a perforated, jewel-toned ‘Marrakech’ shirt. A growing accessories offer, from belts and scarves to beanies and wallets, rounds out the complete looks.

Mission and identity: a story to sell

The positioning is deliberate. Vergne Reepmaker built the brand around an old money classic aesthetic and, just as importantly, around a narrative, naming it after himself to bind story to product. His read on the market is that accessible luxury is underserved: too few brands, he argues, pair genuinely good product with a strong brand philosophy. “I truly believe in the trend of affordable luxury,” he says, “but a lot of brands miss a brand story, an identity. People are looking for a narrative, a purpose, a DNA.” For retail partners, that translates into a brand with a clearly defined customer, the man who wants to dress well every day, and a hook to sell against the Ralph Laurens and Hugo Bosses it is often merchandised beside.

Wholesale, marketplaces and new markets

Wholesale marks a strategic shift, and one Vergne Reepmaker approached only once the brand was ready for it. He spent several seasons preparing the ground: establishing a clear brand identity and positioning, refining the collections for consistency, building a proven retail track record and a firm read on customer demand, and developing the operational backbone of production, logistics and inventory planning. Alongside its own stores in Brussels and Bruges, the brand is building a marketplace presence, onboarding the German platforms About You and Galeria and using online as a first step into new markets before a physical push. A proof point sits closer to home: in the south of France, Vergne Reepmaker’s cousin, the fourth generation to run the family menswear store, already stocks the brand alongside houses such as Corneliani.

The story behind the brand

The commercial instinct is hard won. Before launching, Vergne Reepmaker spent more than two decades in retail, starting at 18 on the floor of a womenswear boutique and going on to sell for Hermès on Amsterdam's P.C. Hooftstraat, then Paul Smith and Sandro, where he became area manager for the Benelux. A talent award won him a trip to Rome, where Italian retail concepts pairing classic tailoring with sharp pricing crystallised the idea for his own brand.

He studied business administration at night, then, as he puts it, broke through the “terror barrier” to strike out alone, launching with an Amsterdam pop-up during the 2021 pandemic and later running a 40 square metre concession at department store INNO in Brussels himself, often surprising shoppers by revealing he was the designer. Inside many garments, stitched into the lining, sit quotes from figures such as Churchill and Lincoln, a nod to the self-belief he says dressing well can give a man.

US apparel group Oxford Industries, Inc. has announced its financial results for the first quarter of fiscal year 2026 ended May 2, 2026, revealing consolidated net sales in line with company expectations but a decline in profitability due to macroeconomic pressures and incremental tariff costs.

Consolidated net sales in the first quarter of fiscal 2026 decreased slightly to 391 million dollars compared to 393 million dollars in the first quarter of fiscal 2025. Earnings per share (EPS) on a GAAP basis was 1 dollars compared to 1.70 dollars in the first quarter of fiscal 2025. On an adjusted basis, EPS was 1.39 dollars compared to 1.82 dollars in the prior year period. Both GAAP and adjusted EPS in the first quarter of fiscal 2026 included 11 million dollars, or 0.55 dollars per share, of incremental tariff costs compared to the first quarter of fiscal 2025.

Tom Chubb, chairman and chief executive officer of Oxford Industries, commented: “We delivered net sales in line with our expectations, led by mid-single-digit positive comps at Tommy Bahama, and adjusted EPS above our guidance range, fueled by better-than-expected gross margins. Our overall performance also reflects softer than expected results at Lilly Pulitzer and a challenging environment marked by weak consumer sentiment and higher energy prices.”

Segmental sales performance breakdown

Full-price direct-to-consumer (D2C) sales decreased 1 percent to 247 million dollars versus the first quarter of fiscal 2025. Within this channel, full-price retail sales reached 135 million dollars, which was comparable to the prior year period. E-commerce sales fell by 2 percent to 111 million dollars compared to the first quarter of fiscal 2025.

Outlet sales of 19 million dollars were comparable to the prior year period, while wholesale sales decreased by 5 percent to 88 million dollars compared to the first quarter of fiscal 2025.

Gross margin for the first quarter contracted to 62.3 percent compared to 64.2 percent in the first quarter of fiscal 2025. Operating income on a GAAP basis was 22 million dollars, or 5.7 percent of net sales, compared to 36 million dollars, or 9.2 percent of net sales, in the first quarter of fiscal 2025. On an adjusted basis, operating income was 30 million dollars, or 7.7 percent of net sales, compared to 39 million dollars, or 9.8 percent of net sales, in the prior year period.

Retailer narrows full year sales guidance

The board of directors declared a quarterly cash dividend of 0.70 dollars per share, payable on July 31, 2026 to shareholders of record as of the close of business on July 17, 2026. Oxford Industries has paid dividends every quarter since it became publicly owned in 1960.

For the second quarter of fiscal 2026, the company expects net sales to be between 380 million dollars and 400 million dollars compared to net sales of 403 million dollars in the second quarter of fiscal 2025. GAAP EPS is expected to be between 1.13 dollars and 1.33 dollars, while adjusted EPS is forecast in a range of 1.20 dollars to 1.40 dollars.

For the full fiscal year 2026, Oxford Industries is narrowing its full year sales outlook by lowering the high end of the previous range, while tightening its adjusted EPS guidance by raising the low end. The company now expects full year net sales in a range of 1.48 billion dollars to 1.51 billion dollars, compared to net sales of 1.48 billion dollars in fiscal 2025. Full year GAAP earnings per share are expected to be between 1.70 dollars and 2.10 dollars, while adjusted EPS is anticipated to be between 2.30 dollars and 2.70 dollars.

The US womenswear retailer J.Jill, Inc. has announced its financial results for the first quarter of fiscal year 2026 ended May 2, 2026, revealing a decline in both net sales and profitability in line with company expectations.

Net sales for the first quarter of fiscal 2026 decreased 6 percent to 144.40 million dollars compared to the first quarter of fiscal 2025. Total company comparable sales, which includes comparable store and direct-to-consumer (D2C) sales, decreased by 8.7 percent for the period. Net sales for the D2C channel, which represented 45.6 percent of total revenue, fell 8.3 percent compared to the first quarter of fiscal 2025.

Mary Ellen Coyne, president and chief executive officer of J.Jill, stated: “We delivered first quarter results in line with our expectations and are encouraged by early indicators that our strategy is gaining traction. We are balancing speed with careful deliberation as we evolve – making the best decisions for our business and our customers. I am confident in our ability to drive gradual, sequential improvement and position J.Jill for sustainable growth.”

Income and profitability metrics decline

Gross profit for the first quarter was 98.70 million dollars compared to 110.40 million dollars in the first quarter of fiscal 2025. Gross margin contracted to 68.3 percent compared to 71.8 percent in the prior year period.

Net income for the period decreased to 4.70 million dollars, down from 11.70 million dollars in the first quarter of fiscal 2025. Net income per diluted share was 0.31 dollars, compared to 0.76 dollars in the first quarter of the prior year. Adjusted EBITDA for the quarter was 16.70 million dollars compared to 27.30 million dollars last year, yielding an adjusted EBITDA margin of 11.6 percent.

Retail footprint and financial outlook

During the first quarter of fiscal 2026, J.Jill opened one store and closed two stores, bringing its total store count to 255 locations. The retailer also repurchased 68,500 shares of common stock for approximately 0.80 million dollars. On June 3, 2026, the board declared a cash dividend of 0.09 dollars per share, payable on July 8, 2026.

For the second quarter of fiscal 2026, J.Jill expects net sales to decline 1 percent to 3 percent year-over-year (YoY), with comparable sales projected to decrease 2 percent to 4 percent. Gross margin is anticipated to contract by approximately 100 basis points, incorporating a 4.00 million dollar net cost impact from tariffs. Adjusted EBITDA is forecast between 18 million dollars and 20 million dollars.

For the full year of fiscal 2026, Coyne reaffirmed the company financial outlook for net sales, which are expected to be flat to down 2 percent YoY. Comparable sales are projected to decline 1 percent to 3 percent for the full year. Full-year gross margin is still expected to contract by approximately 50 basis points, factoring in 14.50 million dollars of tariff impacts, while adjusted EBITDA is projected to land between 70 million dollars and 75 million dollars.

US online personal styling service Stitch Fix has reported its financial results for the third quarter of fiscal 2026 ended May 2, 2026, delivering its fifth consecutive quarter of year-over-year revenue growth on an adjusted basis. Both net revenue and adjusted EBITDA exceeded company expectations.

Net revenue for the third quarter increased by 4.7 percent year-over-year to 340.30 million dollars. The company also recorded a sequential increase in active clients, which rose by 0.9 percent quarter-over-quarter to 2.31 million, although this represented a decrease of 1.9 percent compared to the same period last year. Net revenue per active client increased by 6.6 percent year-over-year to 578 dollars.

Stitch Fix chief executive officer Matt Baer said: “In Q3, we delivered another strong quarter, reporting our fifth consecutive quarter of year-over-year revenue growth on an adjusted basis, with both revenue and adjusted EBITDA exceeding our expectations. We also hit a significant milestone with sequential growth in active clients. These results reflect our team’s consistent execution of our strategy and underscore that the improvements we’ve made to our client experience and assortment are resonating.”

Third quarter financial breakdown

Gross margin for the period was 43.7 percent, representing a decrease of 50 basis points year-over-year. The group reported a net loss of 1.50 million dollars, resulting in a net loss margin of 0.4 percent and a diluted loss per share of 0.01 dollars. Adjusted EBITDA reached 13.20 million dollars, equivalent to an adjusted EBITDA margin of 3.9 percent.

During the first quarter of fiscal 2024, the company ceased operations of its UK business, which met the accounting requirements for discontinued operations. Accordingly, all financial results presented relate strictly to continuing operations.

Updated fiscal year outlook

For the fourth quarter of fiscal 2026 ending August 1, 2026, Stitch Fix projects net revenue to be between 322 million dollars and 327 million dollars, representing year-over-year (YoY) growth of 3.5 percent to 5.1 percent. Adjusted EBITDA is expected to land between seven million dollars and 10 million dollars, representing a margin of 2.2 percent to 3.1 percent.

For the full fiscal year 2026, the company has updated its financial outlook. Full-year net revenue is forecast to be between 1.35 billion dollars and 1.35 billion dollars, representing a YoY growth of 6.2 percent to 6.6 percent. Full-year adjusted EBITDA is expected to be between 49 million dollars and 52 million dollars, with a margin of 3.7 percent to 3.9 percent.

Management expects the full fiscal year 2026 gross margin to be between 43 percent and 44 percent. Advertising expense as a percentage of revenue is anticipated to be between 9% and 10% for the full year, and the company expects to remain free cash flow positive.

Operational questions are causing a bottleneck when it comes to DPP implementation rather than its requirements. Who owns this data internally? Which budget covers it? Which suppliers need to be onboarded first? On what timeline? These are some of the questions that DPP provider Renoon faced.

The company started as an app for sustainable fashion meant for consumers but now specialises in end-to-end DPP infrastructure and traceability for the fashion industry. While product management, traceability and compliance was earlier tackled as three separate areas by industry stakeholders, Renoon understands itself as an end-to-end DPP delivery solution with one connected process that combines regulatory expertise, supplier onboarding, data infrastructure and deployment.

The company works with fashion brands across Europe that are of different sizes, therefore the implementation challenges are also very different. While for large fashion companies, they are mainly related to governance, for small and medium-sized enterprises (SMEs), operational capacity can be an issue. FashionUnited wanted to know more and spoke with Renoon co-founder and CEO Iris Skrami on how brands can get started, what some of the challenges and data blinds spots are, and how data sharing works most efficiently.

Can you expand on the different challenges depending on company size?

For larger companies, EU regulatory requirements create real questions about ownership and cross-functional coordination as well as where the DPP sits within broader digital transformation programmes. In these organisations, the first move is typically a business case and an internal alignment process, not a technology deployment.

Smaller companies have smaller teams and resources are distributed across fewer people, hence the idea of a multi-year transformation programme is not realistic. What Renoon typically builds with these brands is a phased roadmap: where to start, which suppliers to prioritise, what implementation can look like in year one versus year three. The brands moving fastest are not necessarily investing more. They are making earlier decisions about ownership, supplier engagement and data strategy.

How is data driving implementation?

One of the more consistent findings in Renoon's work is that brands tend to overestimate how much data they are missing, and underestimate how fragmented the data is that they have. Product information sits in PLM systems; operational data lives in ERP [enterprise resource planning, ed.] platforms. Supplier certifications, traceability records and environmental data are managed through a separate layer of processes, spreadsheets and partner portals. The information exists. It is just not connected in a way that is verifiable, scalable or structured for a product-level passport. In other words, the data is there but the infrastructure and interoperability is not. Thus, the real question often is how existing systems, supplier networks and compliance requirements can be made to speak to each other within a single framework.

What were some of the early challenges and what are some challenges now?

Early on, the challenge was legitimacy. We were asking brands to invest time and resources in something that felt speculative: a regulation that wasn't yet enforced, a data infrastructure that did not yet exist at scale, and a category of provider that the market had not fully named yet. Getting early partnerships meant convincing people to move before the majority did.

Now the challenge has inverted. Awareness is not the bottleneck anymore. What we consistently find is that brands understand the requirement but have not resolved the internal questions that need to come first: who owns this, which budget covers it, which suppliers get prioritised and when. The decision-making friction has shifted from “should we do this” to “how do we actually start.” That sounds like progress, and it is, but it introduces a different kind of complexity. We are often as much an alignment partner as a technical one.

What was the biggest “data blind spot” you discovered when mapping multi-tier supply chains?

The assumption that missing data means data does not exist. In almost every implementation we have done, brands overestimate how much they are missing and underestimate how fragmented what they have already is. Product information lives in PLM [product life cycle, ed.] systems. Operational data sits in ERP platforms. Certifications, environmental records and traceability documentation are spread across spreadsheets, supplier portals and email chains. The data exists, it is just not connected in a way that is verifiable or structured for a product-level passport.

”The biggest data blind spot is the assumption that missing data means data does not exist.“

The real blind spot is the tier two and three layer. Brands generally have reasonable visibility into their direct manufacturers. But the materials, the dyes, the chemical inputs, those come from suppliers that their suppliers source from. That is where the genuine unknowns are, and it is also where the DPP will eventually require the most work.

How do you handle suppliers who are hesitant to share proprietary information about their facilities or chemical inputs?

With a lot of patience and a clear distinction between what the DPP actually requires and what brands sometimes ask for. Suppliers are often protecting competitive information, the specific processes, formulations or sourcing relationships that differentiate them. That is legitimate. What DPP compliance needs is not their recipe. It needs verifiable attributes. Those can usually be structured in a way that protects proprietary detail while still producing a compliant, credible passport.

Part of our work is helping brands have better conversations with their suppliers, framing this not as an audit but as a shared infrastructure problem. Suppliers who understand that the DPP is coming regardless, and that being ready early positions them as preferred partners, tend to engage differently than those who feel they are being scrutinised.

At what point in the manufacturing process is the digital carrier (QR) actually assigned: at the fibre stage or once the garment is finished?

In practice, this varies by use case and product complexity, but the most common approach we see is carrier assignment at the finished goods stage, typically during final production or pre-shipment, because that is the point at which a stable, unique product identity can be reliably established. Assigning earlier creates traceability continuity challenges: a fibre lot or fabric roll does not map one-to-one to a finished SKU [stock keeping unit, ed.], especially across cut-and-sew operations with yield variation.

That said, for brands prioritising deep material traceability, where the origin of a specific fibre batch matters for the DPP claim, we do work with upstream data linkages that are associated to the passport retroactively. The QR on the garment points to a passport that can hold data collected at multiple earlier points in the chain, even if the carrier itself was applied at the end.

How do you and your clients ensure the digital ID stays ‘alive’ and readable through years of laundry cycles or heavy wear?

This is partly a physical durability question and partly a data architecture question, and both matter. On the physical side, the carrier technology itself, whether woven label, heat-transfer or embedded chip, needs to be specified for the product's expected lifecycle. A QR on a paper hangtag serves a different purpose than one woven into a care label or encoded in an NFC chip. For products with long or intensive use cycles, the specification conversation is part of the implementation scoping.

On the data side, the more important question is what happens to the underlying passport infrastructure over time, because the physical carrier is only as useful as the endpoint it points to. Renoon builds DPP infrastructure with data persistence and URL stability as non-negotiable requirements. A scan five years from now needs to resolve to a valid, current record, not a broken link. That is less glamorous than the QR itself, but it is where most DPP implementations will quietly fail if they do not plan for it from the beginning.

Last but not least, what motivated you to move away from a consumer-facing app toward a platform specialising in Digital Product Passports and supply chain traceability?

The honest answer is that the consumer app taught us something we could not have learned any other way: consumers want transparency, but brands control whether it exists. You can build the most beautiful product discovery experience, and it hits a ceiling the moment the underlying data is not there. We kept running into the same wall, and it was not a demand problem, but a more structural one. The information brands have about their own products is fragmented, unverified and not designed to be shared at product level. At some point it became obvious that the more important problem to solve was upstream. DPP regulation gave that work a deadline, but the infrastructure gap we were building into existed long before the regulation did.

The interview was conducted in written format.

London - British apparel company Frasers Group (Frasers) announced on Wednesday its intention to acquire the remaining capital of German premium clothing group Hugo Boss for almost two billion euros (2.31 billion. Frasers already holds more than a quarter of the company.

As Hugo Boss is listed in Frankfurt, Frasers intends to “launch a voluntary public takeover bid in accordance with German law” for these shares. These represent “approximately 73.94 percent of the share capital,” the British group stated in a press release issued after the markets closed.

“Hugo Boss is a key brand partner for Frasers and one of the top five brands within the group,” added the British company. It plans to offer 38 euros per share, totalling approximately 1.98 billion euros, for the capital it does not yet own.

Shares in the Hugo Boss group, whose net profit increased by 17 percent to 249 million euros in 2025, closed at 36.46 euros on Wednesday in Frankfurt.

Positioning itself as a “long-term investor” in the German company, Frasers stated it is “supportive” of chairman of the supervisory board Stephan Sturm and chief executive officer Daniel Grieder. The group praised their “strategy of sustainable growth and strengthening brand value”.

Frasers expects the transaction to be “finalised in the second half of 2026”.

The British group, which owns the Sports Direct chain, saw its net profit fall by 23 percent to 292.1 million pounds in its fiscal year ending late April 2025. These are the latest annual figures available.

Off Season, the premium sports-fashion brand founded by Kristin Juszczyk and Emma Grede, is establishing its independent brand identity beyond fanwear licensed collaborations with the launch of its first ‘Mainline’ collection.

The debut ‘Mainline’ collection, launching today, June 10, aims to reimagine “athletic heritage,” explained Off Season on its social media, combining “sport and style, while representing a league of our own,” with pieces built around “style, community and the emotional connection sport creates”.

Off Season launched in 2025 with a mission to redefine the intersection of fashion and sport, offering a new category of apparel extending beyond traditional fan gear, especially for women, and this drop has been created independently of any specific sports league, team, or collaboration to mark its first step in evolving as a modern lifestyle brand.

The brand has become known for its high-profile partnerships with sporting leagues, such as the NFL, NBA, WNBA, Team USA, and most recently, Formula 1, offering game/race day apparel, including puffer jackets, graphic T-shirts, patchwork joggers, jersey mesh halter necks, cropped track tops, team logo branded hoodies, knitwear, and shorts.

Off Season launches debut core collection as it evolves beyond licensed collaborations

For its first-ever core collection, Off Season is still merging the worlds of fashion and sports to create a modern, elevated sportswear range with sport-inspired silhouettes and vintage-style graphics, as it looks to introduce “the world of Off Season itself” with “design leading over heavy branding”.

The collection isn’t tied to any specific sport, but rather a “reflection of the Off Season lifestyle” with sport in general being the foundation, with pieces ranging from corsets crafted in jersey with lace detailing and flexible boning to skorts featuring mesh jersey panels, and stripy loungewear short sets, rooted in shades of summer blue.

Other highlights of the 12-piece collection include a windbreaker quarter zip bodysuit, fleece layered wide-leg sweatpants, nylon track pants with graphic and stripe detailing, and a layered tank top, which self-taught designer Juszczyk describes as her “fun twist on the basic tank”.

There is also a nod to Juszczyk’s NFL connection through her husband, Kyle Juszczyk, fullback for the San Francisco 49ers, with an Off Season-branded jersey in a blue and golden-brown colourway, adorned with OS on the front to mimic 05 on a football jersey and patches on the sleeve.

While the majority of the collection is designed for women, there are two unisex pieces, a windbreaker top and short set. Prices for the collection range from 85 to 160 US dollars.

Commenting on the evolution of Off Season, Juszczyk said in a statement: “From the beginning, Off Season has always been about connection, whether that’s to a team, a moment, or a feeling.

“With this collection, we’re expanding that idea and creating pieces that connect people to the Off Season point of view itself. It’s about capturing the emotion and influence of sport, but translating it into something that feels elevated, versatile, and personal to how you style it in everyday life.”

To launch the collection, Juszczyk tapped her husband, Kyle and friends Kelsey Anderson, Claire Kittle, and Tori Moraga to star in the campaign.

The Off Season ‘Mainline’ collection will be available directly from the brand’s e-commerce, as well as at Revolve.com and Fanatics.com.

In June, Paris is not just buzzing for its men's Fashion Week, running from June 23 to 28. The month also features major retail activations, once again confirming the capital's dynamic pop-up scene. FashionUnited has selected the most inspiring and innovative events currently taking place.

Luxury hospitality as a space for commercial expression

Parisian hotels are increasingly establishing themselves as niche retail players, offering brands a unique setting to target an international clientele. The SO/ Paris hotel exemplifies this trend, partnering with designer J. Simone (Jude Ferrari) from May 18 to June 29. The establishment uses bold, urban scenography to present the brand's spring/summer 2026 collection, featuring pieces developed in partnership with the label Labdip.

Meanwhile, the Brach Paris hotel in the 16th arrondissement is hosting Parisian accessories brand Heimat Atlantica from June 18 to 28. This partnership allows the hotel to enhance its offering with a cultural project focused on Iberian craftsmanship, with production being 100 percent European. This highlights the growing overlap between hospitality and artisanal luxury.

Shared spaces and lifestyle curation

Faced with the constraints of the Parisian commercial property market, several brands are choosing to share retail space to create a cross-promotional offering. The ready-to-wear house Bourrienne Paris X is setting up at shoemaker Chatelles on rue du Bac from May 28 to June 28, thereby merging their client bases around a shared positioning of Parisian elegance.

Following a similar strategy, the brand Pyrenex is transforming its flagship store on rue du Temple to incorporate an outdoor and lifestyle offering. By inviting complementary brands such as Topo Designs, Yeti and Keen until the end of August, the company increases the appeal of its physical point-of-sale and extends the time customers spend in store.

Conquering the French market

Paris Fashion Week month remains a prime opportunity for international brands looking to test or strengthen their physical presence in France. Japanese brand Momotaro Jeans, a specialist in high-end denim, is opening its first Parisian space in the Marais from June 23 to 27. The objective is to showcase its expertise to international buyers, particularly its exclusively dyed fabric known as “Tokuno Blue”.

Spanish brand Alhaja is also launching a space from June 17 to 21, confirming its ambition to establish a long-term presence in France, now its second strategic market.

Large-scale pop-ups

Institutional retailers continue to use the pop-up format to introduce emerging designers. With this in mind, Galeries Lafayette Paris Haussmann is bringing back its “Africa Now” space from June 17 to July 18, 2026. The event, organised in partnership with the Tranoï trade show and Canex, highlights a ready-to-wear and accessories offering designed for Western standards, while also supporting the economic empowerment of African creative communities.

Additionally, with the 2026 Football World Cup approaching, sporting goods retailer Intersport has decided to go big by opening a pop-up space called “Club House”. Located under the Canopée des Halles in Paris, the space will be open from June 12 to July 4, 2026. It will feature several distinct zones, including a clothing customisation workshop, an area dedicated to freestyle football demonstrations, and an exhibition space presenting collectors' items and vintage French team jerseys.

Madrid – Galician fashion multinational Bimba y Lola has today reported on the profitability data recorded by the company at the close of its last fiscal year, 2025. These metrics provide a clearer and more complete picture of its actual performance over the past year. They supplement the initial estimated sales figures released by its management in early March of this year, 2026.

Based on information provided by the Spanish company's management, Bimba y Lola closed its last full financial year 2025 on February 28, 2026, recording total sales of 250 million euros. This amount represents a growth of +6.83 percent compared to the 234 million euros invoiced by the company during its previous full financial year of 2024. This rate reflects an acceleration in turnover levels compared to the +3 percent growth recorded in 2024 against the previous year's sales.

In terms of profitability, Bimba y Lola reports an earnings before interest, taxes, depreciation and amortisation (EBITDA) of 32 million euros in 2025. These are indicators that the company's management was reluctant to make public for the 2022, 2023 and 2024 financial years. This figure represents a growth of nearly 13 million euros, or +68.42 percent, compared to the 19 million euros recorded at the close of the previous fiscal year. This has resulted in an EBITDA margin of 13 percent on sales.

Completing this performance in terms of profitability, the company reports a net profit that reached eight million euros at the end of the year. This amount is up +433 percent from the nearly 1.5 million euros the company recorded as net profit at the close of 2024, after adding 6.5 million euros compared to the previous year's result. With this, Bimba y Lola recovers some of the ground lost due to expansion and consolidation initiatives carried out in recent years. It also moves closer to the 18.2 million euros in net profit it achieved in 2019. This was the last financial year to be completed without the effects of the coronavirus pandemic. The company completed that year with sales of 226.8 million euros and an EBITDA of 35.8 million euros.

“Our year 2025 has been really positive in many ways,” highlighted Jose Manuel Martínez, chief executive officer of Bimba y Lola, in a statement released by the management of the Spanish fashion multinational. “The positive evolution of our comparable sales in all markets makes us feel a growing affection for the brand and encourages us to continue improving. We also greatly value the continuous strengthening of our teams and our resources to be able to continue building Bimba y Lola as a Spanish brand with a global reach.” A goal towards which, he adds, “now that we have completed our first 20 years, we remain enthusiastic about this adventure.”

Spain as a growth driver

Delving into the other indicators presented by Bimba y Lola regarding its performance during 2025, by channel, 78 percent of sales, amounting to some 195 million euros (+5.48 percent), were generated from the physical points-of-sale that the store has across 34 markets worldwide. These points-of-sale, both owned and franchised, totalled a network of 321 stores in 2025, after the addition of 11 net openings to the 310 points-of-sale the firm had at the close of the 2024 financial year.

Completing these records, the digital channel closed 2025 representing 22 percent of Bimba y Lola's global turnover, for some 55 million euros (+11.92 percent). This level of revenue shows the online channel continues to gain greater prominence within the company's balance sheets, increasing from 21 to 22 percent of its global sales. This is despite experiencing a slight reduction in its growth rate compared to the +15 percent recorded in 2024 versus 2023.

Finally, by market, nearly 58 percent of Bimba y Lola's 2025 sales were generated in Spain, for a value of around 145 million euros (+10.65 percent), compared to the 56 percent they represented of 2024 sales. This revenue stream is completed by an international business that is shrinking in weight within the company's balance sheets, dropping from 44 to 42 percent of the company's global revenue, for some 105 million euros (+1.98 percent). Bimba y Lola's management has nevertheless been keen to clarify that the company's sales experienced “good development” in all the markets in which it operates, in comparable terms.

As for why EBITDA has increased by almost 13 million euros while net profit has increased by 6.5 million, this “more moderate improvement than that of EBITDA” was “mainly due to the major investment effort made by the group between 2018 and 2024”. The company justifies this by stating that “the investments made in international expansion; the modernisation of the store network; the automation of logistics; the provision of systems; and the construction of a new headquarters are key elements for the brand's medium and long-term strategy.” However, they “entail a higher level of amortisation and a higher short-term financing cost.”

EssilorLuxottica has announced the pilot introduction of its first production lines for wearable devices in Italy. Beginning in the second half of the year, the initiative will particularly involve the historic Agordo plant, where an entire production area will be fully converted and operational for the new industrial activities by early 2027.

In a statement, Francesco Milleri, chairman and CEO of EssilorLuxottica, said: “Bringing the production of our wearable devices to Italy, starting with the Agordo plant, is a strategic and industrial choice of great value for the group and the local area. It is an ambitious project that requires expertise; a solid supply chain; and an ecosystem capable of supporting innovation, quality and speed of execution.

"We are convinced that this challenge can only be won through strong synergy between all parties involved: the company, its people, trade unions and institutions. This will build an integrated system around our plants that pools technology, talent and supply chains, further strengthening our leadership in a sector with very high potential."

A note explained that the investment in plants, machinery and people to carry out the trial is part of the path initiated by the group and the trade unions with the Company Supplementary Agreement. It also follows the subsequent programmatic agreement from last September. Through these agreements, the parties intend to support the development and competitiveness of the Italian factories and strengthen an industrial model based on quality, innovation and the enhancement of 'Made in Italy'.

“This is a choice that confirms how innovation, research and advanced manufacturing can and must find a place in our country. The challenge now is to accompany this transition with continuous investment in people, training and quality of work, so that technological development produces industrial and social growth for the entire region,” commented Marco Falcinelli, Sebastiano Tripoli and Daniela Piras, respectively general secretaries of Filctem Cgil, FEMCA CISL and Uiltec Uil.

Tony Ranalli is the new art director of Gas. The designer has over 30 years of experience in the apparel industry.

Romolo D'Orazio, general manager of Gas, said: "We were not just looking for a name, but for a person capable of getting into the brand's DNA and the product, understanding its construction and guiding its evolution. Among the key values we have identified as typical of our brand is authenticity, which we cite daily.

"For us, this means making decisions consistent with our identity and with the direction we want to give the company. We want to continue to evolve by creating increasingly international and contemporary collections, offering consumers and our clients an ever more solid service. I believe that a well-made product remains the best possible advertisement."

Designer has over 30 years of experience in apparel industry

After studying at the Accademia Koefia in Rome, Ranalli began his career at Roberto Cavalli, where he remained for ten years as a fashion designer. From there, he embarked on a diverse path involving consultancy, design and collection development for Italian and international brands, including Byblos, Zuhair Murad, Jean Paul Gaultier and Kocca. He then developed his own brand, Letonerre, and spent three years with the Chinese giant Eeak designing the Koradior brand, before returning to the Roberto Cavalli universe with Just Cavalli.

"Experience gained across menswear, womenswear, licensing, accessories and apparel provides Gas with a solid, practical and deeply rooted creative lead," the management explained in a note.

“My goal is to work on the brand by bringing a bolder, more colourful, sexier and more transgressive touch, without distorting its identity. From what I have perceived, Gas has all the elements and potential to make a strong return to the market,” stated Ranalli.

Gas was founded in Chiuppano in 1984 and acquired in June 2022 by Milano 1984. It is currently owned by investment holding companies Bordin Holding, Dea Capital and Duke. The business became Gas Milano 1984 and has established itself as one of the main players in the sector.

The new company has 180 employees and is based in Chiuppano (Vicenza). It has a showroom in Milan on Via Tortona, commercial agencies throughout the country and a significant presence in the wholesale business. The brand has approximately 650 multi-brand points of sale in Italy, Europe, Africa and Asia.

Marc Schmidt, the former chief operating officer of the label Casablanca, has announced his appointment as managing director of the Dutch brand Extreme Cashmere. The new director indicated on his LinkedIn account that he will start on July 1, 2026.

“I didn't look for this opportunity. It presented itself – and after the first conversation, I knew I belonged here,” Marc Schmidt wrote in a post on the online network. He specified that his role will be to “help the founder and the team grow the brand at a sustainable pace – without losing what makes it unique.”

A few days ago, Marc Schmidt announced he was leaving his position at Casablanca, where he held the dual role of chief operating officer (COO) and chief digital officer (CDO). “June 30 marks the end of a crazy and beautiful adventure. When I joined Casablanca Paris, the mission was clear: to help build something that could grow. What I wasn't quite prepared for was the breakneck speed at which everything happened: opening two flagship stores from scratch; bringing ideas that seemed almost impossible to life; and seeing a brand come alive,” he wrote in a post on LinkedIn.

Extreme Cashmere was founded in 2016 by Saskia Dijkstra. The luxury brand is known for its all-season, genderless and unisize cashmere collections.

British sportswear giant Sports Direct has partnered with delivery platform Zapp to offer FIFA World Cup 2026 merchandise to customers across London, with the goal of making products available within 20 minutes.

The collaboration will run throughout the tournament and gives football fans access to official merchandise, including shirts and match-day essentials, alongside groceries and drinks through a single order.

The move comes as retailers look to capitalise on major sporting events through faster and more flexible fulfilment options. According to Zapp, 78 percent of football-related orders are placed within 90 minutes of kick-off, often outside traditional retail trading hours.

A Sports Direct spokesperson said: “The FIFA World Cup is one of the biggest moments in the global sporting calendar. Through our partnership with Zapp, we're extending access to our FIFA World Cup 2026 range across London, combining Sports Direct's industry-leading football offering with Zapp's on-demand delivery capabilities.”

Zapp said that interest in football-related products has already accelerated ahead of the tournament, with the company's commercial director Rowan Lawson adding that searches linked to football on the platform have increased by more than 300 percent since teams arrived in the US.

The announcement follows the launch of Sports Direct's World Cup campaign, “When Football Was Football”, which focuses on the nostalgia and cultural significance of the tournament.

British brand conglomerate easyGroup is entering the online retail sector with the launch of easyShop.com, a new marketplace platform developed in partnership with e-commerce company OnBuy.

Scheduled to launch in the fourth quarter of 2026, easyShop will initially operate across 21 European countries and aims to bring retailers together on a single cross-border marketplace.

The platform will be powered by OnBuy's proprietary marketplace technology and operate as a pure marketplace model, meaning it will not hold inventory or compete directly with sellers.

Its mission is to allow retailers to access customers across multiple countries without managing separate local marketplaces, while consumers will be offered a value-focused shopping experience under the easy brand.

In a statement, Stelios Haji-Ioannou, founder and owner of the easy family of brands, said: “The easy family of brands has expanded into many new sectors by focusing on simplicity and value for money. I believe an online retail marketplace using a great domain like easyShop is a natural next step.”

Haji-Ioannou added that the company is already preparing to recruit sellers ahead of a consumer launch later this year.

Cas Paton, founder and chief executive of OnBuy, said the platform is designed to help retailers expand internationally more quickly by removing “many of the barriers that typically slow retail expansion”.

Bilbao International Art & Fashion 2026 has announced the finalists for its tenth edition, bringing together 30 emerging designers from some of the world's leading fashion schools following a selection process that reviewed nearly 2,000 applications from more than 90 countries.

The final will take place in Bilbao this June and will feature designers educated at institutions including Central Saint Martins, Parsons School of Design, and Royal Academy of Fine Arts Antwerp. Organisers said the finalists reflect the growing influence of fashion education in shaping the next generation of creative talent.

According to BIAAF, this year's entries demonstrated a strong focus on conceptual development, experimentation, sustainability, and the relationship between fashion, art, and social discourse. The selected projects were noted for prioritising research, identity, and material innovation over commercial trends.

Charo Álvarez, project director of BIAAF, said the jury placed particular emphasis on creativity and conceptual strength, seeking designers capable of building distinctive creative worlds supported by rigorous research.

Beyond the competition itself, BIAAF continues to position itself as a bridge between education and industry. Winners in both the Fashion Design and Accessories Design categories will receive €10,000, alongside access to international networks, mentoring opportunities, and industry connections designed to support the transition from education to professional practice.

Founded to promote emerging talent, BIAAF has become an internationally recognised platform for young designers, with a growing reputation for identifying innovative voices at the intersection of fashion, sustainability, and contemporary culture.

Madrid – Carmina Shoemaker, or simply Carmina, the renowned Majorcan brand from Inca specialising in artisanal footwear for men and women, continues to expand its international footprint in 2026. This year, the company aims to add two new own-brand stores outside of Spain, specifically in Tokyo and Munich.

This completes and updates the information previously reported by FashionUnited at the beginning of last October. For 2026, as part of its medium-term strategic expansion plan, Carmina Shoemaker is finalising preparations for its much-anticipated entry into Japan. The brand's origins trace back to the founding of a small bespoke shoe workshop on the island of Majorca in 1866. The company currently operates in the country by selling its products through a curated selection of multi-brand stores, such as the Trading Post chain and department stores still operating under the American brand Barneys New York.

Regarding its entry into the Japanese market with its first own-brand store, Carmina Shoemaker announced in October its goal to expand its retail network to Japan with a store in its capital, Tokyo. The opening was initially planned for the last quarter of 2025 but was later postponed to the end of this past May. However, neither the opening nor the specific date for the brand's first store in Japan has yet been confirmed.

Regardless of these delays, Carmina Shoemaker assures that the store will open soon. The historic Majorcan house has already begun advertising its “imminent” opening in Tokyo. Carmina Shoemaker has specified that the brand will open its first store in Marunouchi, one of the world's major capitals. They highlight it as “one of the most elegant districts in the city,” where Japanese lovers of artisanal footwear will find “a new home for craftsmanship”.

First store in Germany, in Munich

In addition to the opening in Japan, and following its stated priority focus on the German market in Europe, Carmina now confirms plans to open its first store in Munich before the end of 2026. No further details about this location have been provided yet. Once it opens, it will also be the Spanish company's first own-brand store in Germany.

As part of the diverse and curated network of multi-brand stores through which Carmina Shoemaker sells its collections across 15 countries, the company has identified a total of five authorised retailers in Germany. These stores are located in Hamburg, Stuttgart, Berlin, and Munich itself. From this base, Carmina has decided to begin strengthening its growing and expanding own-brand retail network from within Germany.

Two to three annual openings until 2030

As previously mentioned, the 2026 openings are part of Carmina Shoemaker's strategic growth and expansion plan. Under these guidelines, the Majorcan brand plans to undertake between two and three new openings annually until 2030. This series of new stores is targeted for strategic markets in both the Americas, reflecting the consolidated position of the US as the company's main market, and especially in Central Europe. Within this region, Carmina is particularly focused on the Swiss and German markets.

All these openings will follow those undertaken by Carmina in recent years. Specifically, they follow the two new own-brand stores opened in 2025 in London and Luxembourg, in line with the objectives of its 2030 roadmap. With these locations, the brand currently has a retail network of nine stores in Inca; Palma de Mallorca; Madrid; Paris; Barcelona; New York; San Francisco; London; and Luxembourg. They plan to increase this figure to 11 stores following this year's planned openings in Tokyo and Munich. On a business level, these new stores will strengthen the direct sales channel, which accounts for just over 80 percent of its total turnover. Approximately 50 percent of sales are generated from its physical retail network, with just over 30 percent coming from its online store.

Christian Dior Couture and Institut Français de la Mode have launched a new training initiative designed to strengthen sustainability knowledge across Dior's global workforce.

Announced in Paris on 21 May, the Sustainability Fashion Leadership Programme aims to equip employees across all departments with a deeper understanding of the environmental and social challenges facing the fashion and luxury industries. The initiative forms part of Dior’s broader sustainability strategy, Dream in Green, and aligns with LVMH’s LIFE 360 programme.

The programme will provide sustainability-focused educational content and conferences to Dior employees worldwide, while a selected cohort of 23 employees from more than 15 departments will participate in a one-year certified training course developed jointly by Dior and IFM. Participants represent areas including logistics, design, merchandising, digital, finance, legal, compliance, and supply chain management.

Structured around four modules totalling 80 hours of training, the curriculum covers topics such as responsible sourcing, traceability, biodiversity, circularity, climate challenges, eco-design, sustainability regulations, and sustainable performance. The programme concludes with coaching sessions focused on developing practical sustainability projects within the company.

Dior said the initiative reflects its ambition to integrate sustainability more deeply into its operations, craftsmanship, and long-term business strategy. The partnership also highlights a growing trend within the luxury sector, where brands are increasingly investing in internal education programmes to help employees navigate evolving environmental regulations and sustainability expectations.

According to Dior and IFM, the programme is intended to help develop a new generation of professionals capable of driving sustainable transformation across the fashion and luxury industries.

Keel Labs, the US startup behind the first fabrics made from seaweed, filed for Chapter 11 bankruptcy protection with the North Carolina court on June 5. The company has an estimated ten million dollars in assets and one million dollars in liabilities.

To produce Kelsun, biopolymers are extracted from seaweed and converted into threads through a chemical process. These threads are then spun into fibres. Keel Labs describes Kelsun as a “plug-and-play integration”. The material can be knitted and woven, and blended with other fibres such as cotton or hemp. In 2024, the innovation earned the company the ‘Innovation Project of the Year’ award at the Textile Exchange Climate & Nature Impact Awards.

Founders Tessa Callaghan and Aleksandra Gosiewski started in 2017 in a small laboratory in Brooklyn. Then operating under the name AlgiKnit, their mission was to introduce ocean-derived fibres into the polluting fashion sector. In 2022, a significant growth spurt followed thanks to a Series A investment of 13,000,000 dollars from investors including Collaborative Fund, H&M Co:Lab and Horizons Ventures.

Almost a decade later, the founders seemed to have proven that seaweed can be an excellent raw material for clothing. After the Covid-19 period, Kelsun's profile grew rapidly through collaborations with major names. For instance, Kelsun created a fine-knit tank top for Stella McCartney (2023); a cotton shirt from the Californian brand Outerknown (2025) contained one-third Kelsun; and finally, H&M and & Other Stories (2025) released a capsule collection featuring the material.

In 2024, in an interview with FashionUnited, the company expressed its satisfaction at having overcome the most difficult growth phases of a scale-up. Garments featuring Kelsun entered the market in batches of over 100 units at a competitive price point. The “next-gen”, sustainable material seemed ready for the mainstream fashion system.

While the current bankruptcy filing does not necessarily mean Keel Labs is ceasing operations, it does raise questions. What is needed to run a viable business in the alternative fibre segment? How can a small company produce scalable, high-quality, lower-impact fibres while simultaneously maintaining a healthy cash flow?

River Island has reportedly returned to profitability following a major restructuring programme, with the retailer posting a pre-tax profit of 11.6 million pounds for 2025.

The result marks a significant recovery for the British fashion chain, which recorded an operating loss of 65.3 million pounds in 2024 and only just avoided administration before launching a business-wide turnaround plan last year.

The restructuring included the closure of 33 stores, rent reductions across dozens more locations and changes to the leadership team, including the return of Ben Lewis as chief executive.

Speaking to The Mail on Sunday, Lewis said he was “very pleased and optimistic” about the results, adding that the company’s actions had been creating a “rapid impact” on performance.

Looking ahead, River Island plans to invest further in digital growth and open new stores across the UK and Ireland. The retailer has also recently expanded its wholesale reach through Marks & Spencer’s online marketplace and increased its focus on brand collaborations.

Despite the improved performance, Lewis warned that rising costs continue to weigh on retailers. “You either must manage these costs, or you must get the economy to grow,” he told the media outlet.

What happens when the booming fitness industry collides with beauty and wellness?

Join us live as our Beauty & Wellness and Active teams explore the emerging opportunities at the intersection of fitness, wellness, and beauty.

As athletic routines, wellness lifestyles, and beauty needs evolve together, we’re tracking the innovations, collaborations, and hybrid experiences reshaping all three markets.

What You’ll Learn:

· What’s shaping the fitness-wellness zeitgeist
· Which brands are leading the convergence
· Where we see the next wave of growth

The future of wellness is in motion. Let’s navigate what’s next.

Speakers

Mallory Huron · Director of Beauty & Wellness, Future Snoops
Taryn Hoffman · Senior Strategist of Beauty & Wellness, Future Snoops
Rachael Gentner · Director of Active & Outdoor, Future Snoops
Tamara Esquiliche · Senior Strategist of Active & Outdoor, Future Snoops
Tatiana Glezer · Founder, Mowe Beauty

When: June 16 · 10am EDT / 4pm CEST

Register for Free

Online resale platform ThredUp has launched a new peer-to-peer selling feature, marking an expansion beyond its traditional managed resale model.

The new offering, dubbed Direct Listing, is being introduced in open beta and allows users to list individual items for sale directly through ThredUp’s marketplace. The move means sellers can now choose between the company's existing Clean Out service, where ThredUp handles the resale process, and a self-managed option for higher-value products.

Direct Listing enables sellers to set their own prices and access the platform's existing customer base, while the company uses AI tools to automate product descriptions, pricing suggestions and image editing. ThredUp will also manage returns on behalf of sellers.

The company said early testing showed strong demand for premium inventory. During the beta phase, nearly 18 percent of listed items were priced above 100 dollars, while the average selling price reached 60 dollars, more than double the average value of products sold through ThredUp's traditional marketplace.

ThredUp added that the addition of peer-to-peer selling is intended to broaden its appeal to consumers looking to resell individual high-value items while continuing to support large-scale wardrobe clear-outs through its existing services.

The launch reflects growing demand for more flexible resale models as consumers increasingly participate in secondhand fashion through a mix of managed and peer-to-peer channels.

While Gen Z might be the first digitally native generation, new research from social media platform Snapchat and Portas, the brand consultancy founded by British retail expert Mary Portas, has found that more than half of Gen Z shoppers (51 percent) prefer going in-store for the experience rather than buying something instantly online.

‘The Memento Generation’ report, which researched the shopping habits and attitudes of more than 2,000 Gen Z consumers in partnership with YouGov, reveals that despite the stereotype that Gen Z are an “online-only generation driven purely by speed and convenience,” they are also investing in moments worth remembering, collecting stories and shared experiences as proof they were there.

The research suggests that Gen Z are a generation that sees shopping as both practical and emotional, and sees the act of shopping as a way to discover new things, spend time with friends, create memories and feel part of something, placing greater value on things that are experiential, social and memory-making rather than simply transactional.

“While convenience remains important, Gen Z increasingly wants shopping to deliver both efficiency and experience, blending practicality with discovery, connection and memory-making,” adds the report. Rachel Levy, head of retail, lifestyle and consumer packaged goods at Snap UK, said in a statement: “Gen Z has grown up in an on-demand world, so convenience is expected. But our research shows something deeper is happening culturally.

“This generation is increasingly building identity and connection through shared experiences, moments and memories rooted in the real world. Shopping is becoming less about accumulation and more about meaning, discovery and social connection.”

Gen Z turning to physical retail to have real-world experiences and shared moments

When it comes to their shopping approach, 83 percent said it depends on the situation; sometimes they want efficiency, other times they want to explore and discover new things, while 75 percent said getting what they want quickly and easily matters most when shopping, alongside emotional and social experiences, which the research adds still plays a major role in purchasing behaviour.

The social aspect of shopping is also shaping their behaviour as Gen Z’s shopping journeys increasingly happen within their inner circle, where shopping becomes collaborative, recommendations are trusted, and purchase decisions are made together. They turn to private chats and close friendship groups to validate decisions, share opinions and “turn shopping into a shared experience”.

Research found that 83 percent send photos or videos of products they’re considering buying to friends or family before purchasing, while 47 percent have purchased something after sharing it in a group chat and receiving a positive response, and nearly 6 in 10 (59 percent) stated they shop at least sometimes primarily to spend time with others rather than to buy something.

For the Memento Generation, “the physical retail experience is critical,” notes the report, as 75 percent said they visit physical stores to see products in real life or try them on, with 71 percent adding that they value being able to see, touch and try products in-store, while 51 percent said they prefer going in-store for the experience rather than buying instantly online, 58 percent enjoyed taking time to discover new things while shopping, and 63 percent said they have purchased something mainly because of the experience around it.

Levy added: “What’s particularly interesting is where these conversations are happening. Gen Z shopping journeys are increasingly driven by close friendships, messaging and trusted recommendations rather than public posting. Platforms like Snapchat naturally sit at the centre of those private conversations, helping people discover, validate and share moments together.

“This is what we call The Memento Generation: a generation creating social currency not through ownership or performance, but through shared moments, memories and experiences that feel real.”

The report also challenges assumptions around instant gratification, as more than half of Gen Z (61 percent) said they would queue for over 15 minutes for something they really wanted, while many said the effort of waiting increased the emotional value of the experience, as Gen Z values retail experiences that “feel authentic, useful and emotionally rewarding rather than performative or overly theatrical”.

How Coach is attracting Gen Z consumers into stores with moments and memories

Gen Z are building identity and social currency through “real-world experiences, shared moments and memories, not just possessions, content or followers,” adds the report, and it represents a major new opportunity for brands and retailers to attract younger shoppers back into stores.

Some brands, such as American luxury brand Coach, are already engaging Gen Z consumers through championing self-expression using immersive experiences, bringing them into stores with playful activations that place them at the heart of the experience.

Recent Coach activations include ‘The Coach Charm Playground’ pop-up, which ran during May at Selfridges, which included everything from a dinosaur slide for adults to enjoy, customisation stations, and exclusive products, as well as a free photobooth and stickers to take away as mementoes from the experience.

“With all experiences, we place emotional connection, community and co-creation at the heart of it,” said Giovanni Zaccariello, senior vice president of global visual experience at Coach, in an exclusive interview with FashionUnited. “[Gen Z] have learnt how to shop online as part of their day-to-day, but they need more than just that; it’s not just about putting bags on shelves. They expect more from every brand, they want a multi-sensory experience, and I think the brand that gives them that will win.”

Coach have also found that the more immersive the experience, the higher the dwell time, which has translated into sales as the American accessories brand reported sales were up 25 percent to 2.1 billion US dollars for the second quarter ending December 27, 2025.

“If you only have bags to shop, maybe you spend two minutes, but if you have a slide, co-creation bar and a photobooth, they spend about 15 minutes with the brand, while also creating an emotional connection,” added Zaccariello.

Gen Z want convenience as well as experiences, states new research from Snapchat and Portas

Mary Portas, broadcaster, author, activist and founder of Portas Agency, said: “For years, people have lazily written off Gen Z as a generation obsessed with screens, speed and instant gratification. This research proves something far more hopeful and human. Young people are craving real-world experiences, connection with friends and moments that make them feel something. They want stories they can tell, memories they can collect and experiences that become part of who they are.

“What we’re seeing is The Memento Economy. It’s not about owning more stuff but about the meaning attached to the moment. Retailers who understand this have an extraordinary opportunity right now. Making things cheaper, faster and more convenient will only get brands so far. The future belongs to the brands, retailers and high streets that create memories worth sharing and experiences worth leaving the house for.”

Fast fashion giant Shein has opened a new e-commerce logistics centre in Dublin, Ireland, as it expands its regional fulfilment network in response to growing demand.

The new 16,000 square foot facility is located in Greenogue Business Park in Rathcoole, and will support 30 jobs across warehouse and office roles, RTE reported.

In a statement to the media outlet, Shein’s corporate communications director, Robin Kiely, said the company was proud to expand its operations in Ireland, a country which “plays an important role in our wider European growth strategy”.

Kiely added that “this investment strengthens our ability to provide improved, more efficient services for customers across the country”.

“The new facility also creates additional warehouse and office roles locally, while supporting our long-term commitment to investing in infrastructure, technology and operational capability across Ireland and Europe,” he continued.

The introduction of the Dublin site builds on broader efforts by Shein to grow its European logistics footprint.

The company opened a primary distribution centre in Wroclaw, Poland, last year, which was followed by a logit logistics warehouse in the UK Midlands that opened last month.

In Ireland, Shein is currently facing an inquiry by the Irish Data Protection Commission over concerns of personal data transfers between the EU/EEA and China.

The company has also been issued a 22 million euro fine from the French government over allegations related to product traceability, environmental claims, withdrawal periods and delivery times.

Fashion Designer Gökhan Yavaş unveiled his Fall-Winter 2026-2027 collection, titled “Armored Silence,” inspired by the layered serenity of Naejangsan Mountain in South Korea, with a striking runway show as part of Antalya Fashion Week.

The strongest armor is the world you quietly build for yourself... A world suspended between 1980s Istanbul and Seoul... A slow-moving, restrained, and uniform atmosphere... During the day, sharp lines and rigid forms envelop bodies like armor. People move forward, yet voices retreat. This armor is not meant for battle, but for survival. As darkness falls, the image begins to fracture. The screen flickers, colors distort, and reality starts to dissolve. The luminous, fluid, and vulnerable self hidden within rises to the surface—like a signal captured on an analog frequency, unheard by anyone yet capable of changing everything.

Fashion Designer and Creative Director Gökhan Yavaş draws inspiration for his Fall-Winter 2026-2027 collection from the layered tranquility of Naejangsan Mountain in South Korea. Architectural upper structures are balanced by layered elements that descend like mist from the mountain peak, reemerging as a language of quiet yet powerful resistance.

Presented during the 9th edition of Antalya Fashion Week at Hotel Su, the collection consists of 21 menswear and 6 womenswear looks. Speaking about the collection, Yavaş says: “While the matte textures used throughout the collection carry a sense of weight and pressure, reflective layers whisper the possibility of escape and freedom. The color palette—composed of Sakura pink, dried maple brown, forest khaki, and misty greys—evokes a faded memory: neither entirely vivid nor completely lost. The silhouettes are designed to gradually unravel, allowing rigid order to give way to something more personal.”

Blending the harsh and poetic qualities of nature with an unmistakably sensual 1980s spirit, the collection quietly reflects a journey between South Korea and Türkiye. It does not speak loudly; instead, it leaves behind a single sentiment: “The strongest armor is the world you quietly build for yourself.” Presented on June 2 as part of Antalya Fashion Week, the Gökhan Yavaş collection was realized under the Brand Direction of Alper Erbudak. The runway show was produced by Eda and Ehat Lekovic in collaboration with Emy Organization.

Facing an uncertain job market and the looming threat of A.I., graduating high school seniors in America’s tech capital are increasingly rethinking their career plans. Job demand in fields like construction, along with the allure of potential six-figure salaries, have some high schools investing in hands-on classes that are redefining what success looks like for the class of 2026.High school seniors graduating in America's technological hubs are reconsidering their professional trajectories in response to an unpredictable labor market and the growing influence of artificial intelligence.

Driven by high demand in sectors such as construction and the prospect of earning six-figure incomes, certain educational institutions are prioritizing vocational training. These hands-on programs are fundamentally altering the traditional concepts of career success for the class of 2026.

European fashion retailers lose over 12 billion euros (13.88 billion dollars) annually on clothing and a further 2.7 billion euros on jewellery and handbags. This is according to research by the European Union Intellectual Property Office (EUIPO), which enforces intellectual property.

The EUIPO states that consumers are willing to pay more for ‘designed’ products like fashion, furniture and electronics. This means there is added value in the design element, which makes design-intensive markets vulnerable to counterfeiting.

Social media makes it even easier for cheap knock-offs to reach the mainstream. In the EUIPO's research, over a tenth of respondents admitted to knowingly purchasing counterfeit goods. For Gen Z consumers under the age of 24, this figure rises to more than a quarter.

Around 28 million EU citizens work in design-intensive sectors, contributing 16 percent to the gross domestic product. The EUIPO therefore strongly advises companies to officially register their designs. Registering a simple product costs 350 euros. The rights are valid in all member states and can be renewed every five years, up to a maximum of 25 years.

Lifestyle Retail Group (LRG) is rebranding as Secret Sales Group to reflect the scale of its off-price retailer, Secret Sales, and an industry shift towards tech-led platforms.

The name change will only apply to the group’s corporate identity, with consumer-facing brands to retain their existing names and operations.

While Secret Sales itself has “become one of the most recognised names in European off-price retail”, Chris Griffin, CEO of Secret Sales Group, said momentum was being seen across the group’s wider portfolio and core markets.

Next to Secret Sales, the company also operates via a slew of international platforms acquired in recent years, including Germany’s Dress for Less; Spain’s Dreivip; and Sweden’s Afound. Such deals have allowed the group to globally expand, leveraging existing consumer bases while also applying its own infrastructure.

This growth has continued into 2026, during which the company has added 150 sellers, more than 500 brands and increased available inventory by over 100 percent.

“Those numbers demonstrate the growing demand from brands and retailers for a pan-European solution that allows them to efficiently monetise excess inventory while maintaining control of pricing, presentation and brand positioning,” Griffin said.

He continued: “The retail landscape is changing rapidly. Brands are increasingly moving away from traditional clearance models and towards technology-led solutions that give them greater control, greater flexibility and better outcomes.

“We believe that shift is only just beginning. Our ambition is simple: to become the first place brands think of when they need to efficiently distribute excess inventory across Europe. The combination of AI, automation, data and scale is helping us get there faster than ever."

Paris - From his childhood in the Nord region to his attendance at Donald Trump's second inauguration, Bernard Arnault, head of the world's number one luxury group LVMH, is the subject of a critical biography published on Wednesday. This is the first of its kind in France in over twenty years.

In “Bernard Arnault, son univers impitoyable”, published by La Tribu, fashion industry specialist Audrey Millet explores his childhood as the son of a well-to-do family from Roubaix. His parents ran a construction company. The book charts his rise to become one of the wealthiest men in the world, heading a family fortune estimated by Bloomberg at 162 billion dollars in June 2026.

The author discusses his time at the prestigious French school, Polytechnique, where the young man excelled in probability calculation but less so in general knowledge, according to his grades. The book dedicates a few lines to his compulsory internship at the engineering school in Angers, where the military concluded he was “unfit to be entrusted with a position of responsibility”.

“What the French army identified as command failures, the management of the 1990s would rename: agility, transformational leadership, entrepreneurial spirit. The world was about to change its perspective,” analyses Audrey Millet.

Then came the acquisitions. First was Boussac in 1984, a textile empire that owned the jewel Christian Dior. This was followed by LVMH, then comprising Louis Vuitton and Moët-Hennessy, after manoeuvres that led the stock market commission to investigate.

Dozens of other houses were subsequently acquired to build the current empire of 75 companies, including Givenchy; Kenzo; Guerlain; Sephora; Pommery; and even Les Échos and Paris Match. Some takeover attempts failed, such as Gucci, which was ultimately snapped up in 1999 by François Pinault's PPR group. Another was Hermès, a case in which LVMH was penalised by the Financial Markets Authority.

The book also subtly highlights the support the businessman received from the state, particularly for the Boussac acquisition. “It was the French state that legally financed the operation,” writes the author.

In early June, Le Canard enchaîné reported pressure from the billionaire's associates on La Tribu. La Tribu is part of Les Nouveaux Editeurs group, in which François-Henri Pinault, chairman of the luxury group Kering, holds shares via his holding company Artémis.

“I can tell you that the pressure was very strong,” the book's editor, Julia Pavlowitch, told AFP, without elaborating further. “This book is a free publication from an independent publisher, in no way influenced by its shareholding (...). It is a traditional publication, the likes of which are becoming increasingly rare,” the editor continued. Contacted by AFP, LVMH declined to comment.

The Foschini Group (TFG), the parent company of Hobbs, Phase Eight, and White Stuff, is planning to shutter 100 underperforming stores as it anticipates a “more subdued year” ahead.

In an interview with the Sunday Times, the South African company’s chief executive, Anthony Thunström, said around 300 underperforming stores had been identified across the portfolio, yet closures would only happen following efforts to improve performance. Which arm of the business these plans will impact was not detailed.

“Closing stores is absolutely the last resort after you’ve tried everything else,” Thunström said. “We look to see whether one of our other brands would perhaps trade better in that store, in that location.”

Ahead of permanent closures, TFG is looking at reducing floor space in some locations and potentially utilising them as online order hubs, responding to the strong performance of its online platform, Bash, which Thunström said complements in-store sales.

The company has also tightened cost control and lowered inventory levels as it seeks higher gross margins. Profitability, however, has remained resilient, despite pressure on the South African business.

Thunström said TFG’s sports division, and specifically its international branded footwear category, has weighed on performance due to market fluctuations, softer demand and excess inventory. This contrasts the company’s womenswear arm, however, with brands like Jet and The Fix driving sales growth.

While store closures are expected, TFG is also eyeing new between 80 and 90 new stores, building on its existing retail network of 4,914 locations across 18 countries.

StockX is venturing into a new field. The resale platform has announced the launch of a real-time live shopping experience, bringing it into the social commerce space.

Due to debut in summer, ‘StockX Live’ will allow buyers to participate in live auctions, giveaways, and live chats enabling direct seller-buyer engagement.

Its initial rollout will focus on building communities of buyers and sellers within categories like sneakers, apparel, collectibles and vintage fashion, with further categories to follow post-launch.

Sellers will be backed by dedicated marketing support and a Live team, while having the potential to reach the platform’s existing 30 million unique monthly visitors.

The feature will be available to all US iOS customers across mobile and web platforms.

For StockX, the launch marks an evolution into a “multi-experience marketplace built for the next generation of commerce”, a “natural extension” of the platform itself, the company’s CEO, Greg Schwartz, said.

“We’ve spent years building a scaled, trusted, and transparent marketplace and now we’re bringing all of that into a live experience. I couldn’t be more excited to get this product in front of our community later this summer,” Schwartz added.

Stone Island collaborates with London-based jewellery brand BUNNEY to present a limited-edition series of 18-carat gold pins, combining the Stone Island Compass with BUNNEY’s approach to fine jewellery.

The project draws on the long-standing tradition of enamelled football badge pins, historically collected and worn by supporters. The reference reflects Stone Island’s natural connection to football culture and to a shared sense of belonging expressed through recognisable signs – most notably the Compass badge itself. Within this context, the pin extends this language beyond apparel into a collectible object developed in collaboration with BUNNEY.

The collaboration consists of 55 pins in 18-carat yellow gold, finished with a combination of high-polish and textured surfaces. Each piece features the Stone Island Compass alongside one of five cities: London, New York, Miami, Los Angeles and Toronto.

Measuring 18 mm in diameter, each pin is defined by engraved detailing: city name and year on the front, individual number and BUNNEY logo hand-stamped on the reverse. Each piece is fitted with a brooch fastening and hallmarked in Birmingham in 2026.

The pins are numbered by city and distributed in limited quantities.

Asics Corporation has announced plans to spin off its Onitsuka Tiger business. The company's Board of Directors has approved the transfer of the business to OT Group, a wholly owned subsidiary of Asics, through a simplified absorption-type company split. The restructuring is scheduled to take effect on January 1, 2027.

Under the new structure, Onitsuka Tiger will operate with greater independence, while the brand's activities within existing regional subsidiaries will also be reorganized globally under OT Group. Asics said the move reflects the brand's rapid international growth, expanding market presence and rising recognition as a luxury lifestyle label.

Asics to separate Onitsuka Tiger

The Japanese sportswear company noted that Onitsuka Tiger has successfully strengthened its position in the premium segment through the expansion of its directly operated retail network. By establishing an independent operating structure, ASICS aims to accelerate decision-making, enhance competitiveness tailored to the brand's luxury positioning, improve transparency of business performance within the broader group, and strengthen governance and management accountability.

The transaction qualifies as a simplified absorption-type company split under Japan's Companies Act and therefore does not require approval from Asics shareholders. As part of the restructuring, OT Group will issue 400 common shares, all of which will be allotted to Asics. The company added that there will be no change to its stated capital or stock acquisition rights as a result of the transaction.

Onitsuka Tiger to be reorganized globally under OT Group

OT Group, established on February 25, 2026, will serve as the global headquarters for the Onitsuka Tiger business. Although the subsidiary has yet to report financial results, it is expected to oversee operations spanning approximately 160 countries and regions. The business will be supported by regional sales hubs in Japan, China, Europe and Southeast Asia, a global network of around 190 directly operated stores, and a workforce of approximately 2,800 employees, including 550 office-based staff and 2,250 retail employees.

Asics said the reorganisation is intended to position Onitsuka Tiger for its next phase of growth as a global luxury lifestyle brand. As the transaction involves a wholly owned subsidiary, the company expects the impact on its consolidated financial results to be minimal.

The US apparel brand Lands' End has announced its financial results for the first quarter ended May 1, 2026. The period was characterized by operational adjustments, a major corporate transaction and varied performance across geographical segments.

Net revenue for the quarter reached 238.90 million dollars, representing an 8.5 percent decline compared to the 261.20 million dollars recorded in the first quarter of 2025. The company stated the drop was primarily caused by a temporary operational disruption tied to the rollout of a new warehouse management system and the deliberate pacing of shipments as US distribution centers returned to normal capacity. Excluding this impact, Lands' End estimates it would have delivered low single-digit revenue growth.

Gross profit decreased by 16 percent to 111.50 million dollars, down from 132.70 million dollars in the prior year. Gross margin contracted by approximately 410 basis points to 46.7 percent from 50.8 percent in the first quarter of 2025, driven by the distribution disruption, continued tariff pressures and a new royalty structure linked to its joint venture with brand management firm WHP Global.

Segment breakdown reveals international growth

The primary digital operations faced headwinds during the quarter. The US Digital segment generated net revenue of 205.10 million dollars, down 9.9 percent compared to the first quarter of the previous year. Within this division, US e-commerce net revenue declined 10.2 percent to 153.30 million dollars, also impacted by the warehouse transition.

The Outfitters division, which handles corporate uniform channels, recorded a 10.3 percent revenue decrease to 38.50 million dollars. Third-party net revenue dipped 5.7 percent to 13.30 million dollars, which management attributed to a strategic focus on higher-margin sales over promotion-driven volume.

Conversely, the European e-commerce division posted positive results. Net revenue for the region grew 14.5 percent to 20.50 million dollars. The company attributed this expansion to a strategic shift toward a franchise-first assortment model that simplified operations and improved inventory efficiency.

Joint venture drives net income surge

Reported net income reached 330.70 million dollars, or 10.56 dollars per diluted share, a substantial shift from the net loss of 8.30 million dollars, or 0.27 dollars loss per diluted share, in the first quarter of 2025. This net income growth was primarily driven by the closing of the WHP Global transaction.

On an adjusted basis, the company narrowed its losses. Adjusted net loss improved to 3.50 million dollars, or an adjusted diluted loss per share of 0.11 dollars, compared to an adjusted net loss of 5.40 million dollars, or 0.18 dollars loss per share, last year. Adjusted EBITDA fell by 165 percent to negative 6.20 million dollars from 9.50 million dollars.

Lands' End chief executive officer Andrew McLean stated that consumer traffic increased by double digits during the quarter and noted that the WHP Global partnership marks an inflection point that eliminates term-loan debt. The majority of the 300 million dollars in cash proceeds from the transaction was utilized to fully repay the company's outstanding term loan.

Outlook

The company initiated a share repurchase program authorized on April 1, 2026, buying back 0.30 million dollars of common stock during the quarter, leaving 99.70 million dollars available under the authorization until March 31, 2029.

Looking ahead to the full fiscal year 2026, Lands' End expects net revenue to be between 1.30 billion dollars and 1.40 billion dollars. Net income is projected between 310 million dollars and 320 million dollars, with adjusted net income expected in the range of 10 million dollars to 20 million dollars.

For second quarter fiscal 2026, the company expects net revenue to be between 290 million dollars and 310 million dollars, net loss to be between 5 million dollars and 2 million dollars and diluted loss per share to be between 0.16 dollars and 0.06 dollars, while adjusted net income to be between 2 million dollars and 5 million dollars and adjusted diluted earnings per share to be between 0.06 dollars and 0.16 dollars. The company forecasts adjusted EBITDA in the range of 11 million dollars to 14 million dollars.

Estefanía Grandío discusses production, logistics, design, suppliers, teams and sales as inseparable parts of the same conversation. For her, as the founder of The New Society, they are intrinsically linked.

During her second pregnancy in 2018, while living in Germany and working in the design department at Hugo Boss, the entrepreneur launched what initially began as a children's fashion brand. Today, it operates as an international structure with womenswear, a teen line, and a presence in over 600 points of sale through the wholesale channel.

In September, the brand will open its first concession in El Corte Inglés and is already looking towards its first retail opening in 2027.

Estefanía Grandío's professional journey maps out the different paces of the European industry. From Spanish fast fashion to British luxury, she has worked in large corporate structures where design, sourcing, logistics, sales and product inevitably intertwine. At Oysho, she was part of the management teams that analysed weekly sales, operations and commercial strategy. At Hugo Boss, she directed the creative area for women's luxury leisurewear from Germany. Later, she worked with Scalpers Woman, Etam and on various creative direction projects in parallel while The New Society began to grow.

Rather than romanticising that stage, Grandío describes it as an intensive school of business acumen. She speaks of endless meetings between departments, constant product analysis and a culture of continuous questioning that still influences how she runs the company today. “What stays with you is the need to question everything to keep growing. When you think you are doing everything right, that is when you get stuck.”

It was while preparing for motherhood that she began to notice a very specific gap in the children's market. She would go into multi-brand stores where she enjoyed mixing garments from different brands to get what she wanted. “I saw that there were brands that did sweatshirts very well, others knitwear, others a more romantic style, but very few offered a total look,” she explains. That was precisely the challenge she set herself when launching her brand.

"When you think you are doing everything right, that is when you get stuck..."

Her collections feature denim, knitwear, swimwear and outerwear alongside embroidered garments inspired by vintage references from old tablecloths, napkins and found fabrics. She confesses to collecting these “compulsively” and they later become collection details after she “plays” with them in her design room.

However, the focus of the conversation inevitably shifts to multi-brand retail. For Grandío, the survival of this channel remains fundamental for independent brands like hers, and there are very clear differences between markets. While the network of concept stores and children's multi-brand shops in the Netherlands remains strong, in Spain the channel barely exists. This is due to the growing weight of large vertical groups capable of absorbing market share, mainly thanks to price.

The company has not grown through its own retail, which it plans to venture into during the next financial year, but by relying on a network of agents and distributors operating on a market-by-market basis. It currently works with around 24 agents across its kids and womenswear lines, as well as distributors in regions like Asia and Canada. They help maintain contact with the more than 600 points of sale they currently work with, including Le Bon Marché; Galeries Lafayette; Smallable; MyTheresa; Luisa Via Roma and John Lewis. “They understand how each country works; which stores make sense; what product works and how to build customer loyalty. I could not do it all on my own.”

This operational control seems almost inseparable from its founder's personality. “I delegate, but I am on top of everything,” she admits with a laugh. “I cannot disconnect.” The internal structure, in fact, remains relatively small for the international volume the company handles. Around 20 people cover design, production, buying, logistics, wholesale, digital content and e-commerce.

In the Spanish market, the brand has had a long-standing collaboration with El Corte Inglés under the wholesale model. Next September 2026, it will inaugurate its first own concession in the department store.

The evolution into womenswear came about, she explains, in a less strategic way than it might seem. It was the customers themselves who started asking for adult versions of certain garments when the brand was still focused on kids. What began as a small “mini me” capsule, fuelled by a trend for mothers and daughters dressing alike, eventually grew into an independent line.

In parallel, the “teen” segment has become the fastest-growing category. It acts as a bridge between childhood and adulthood, reinforcing customer continuity within The New Society ecosystem.

The New Society's relationship with sustainability is built on its understanding of the product. Much of the brand's imagery revolves around natural fabrics, artisanal techniques and garments designed for everyday use with durability in mind. The company produces mainly in Portugal, works with European suppliers and prioritises organic, recycled or natural materials.

At Lanvin, leadership changes are never insignificant. Some appointments, however, signify more than a simple managerial transition. They reflect a brand's condition, its vulnerabilities, its ambitions and sometimes even the spirit of the times. By entrusting the reins of the oldest active French couture house to Barbara Werschine, the group is banking on a profile renowned for a rare quality: the ability to transform without erasing heritage.

According to information revealed by WWD, the French executive is officially taking the helm of the house with a sensitive mission: to continue the ongoing restructuring, strengthen strategic categories, particularly accessories and menswear, while gradually expanding Lanvin into a broader lifestyle universe. This roadmap aims to restore coherence, desirability, and a clear vision to a house that has been seeking a new lease of life for several years.

Above all, this appointment highlights the very specific choice of a profile known for restructuring, repositioning, and modernising heritage houses in complex situations.

Specialist in transforming houses

In luxury, some profiles excel in creation, others in management. Barbara Werschine, however, has established herself over the years as a transformational leader, called upon where houses need to find a new direction, rebuild their desirability, or reorganise their model.

Before joining Lanvin in April 2026 as deputy general manager, she had been leading cashmere specialist Eric Bompard since 2020. This experience was marked by a thorough modernisation of the brand. This included a more premium repositioning, an overhaul of the collections, digital acceleration, an omnichannel strategy and an increased focus on CSR issues. According to Lanvin Group, she “successfully modernised the brand and optimised its financial performance”.

Under her leadership, Bompard also undertook several landmark projects: launching the first collections made in France, reducing air transport in favour of rail and sea and creating an in-house repair workshop.

Barbara Werschine's career extends far beyond cashmere. Trained at ESCP and then Harvard Business School, she began her career at Louis Vuitton before taking over the management of Celine in the UK in the early 2000s. She then joined McKinsey & Company, where she spent six years specialising in the luxury, high-tech, and consumer goods sectors.

The next stage of her career brought her back to the heart of major French houses. At Hermès, she notably managed the leather goods collections and the product strategy for the leather division, while also supervising projects combining innovation and craftsmanship: new materials, R&D projects related to leather and the development of the Métiers d’Art lines.

Between 2018 and 2020, she joined Zadig & Voltaire as deputy general manager during a period of strategic repositioning. There, she led the development of accessories, which became one of the brand's main growth drivers.

From Louis Vuitton to Hermès, and from Bompard to Zadig & Voltaire, a common thread emerges. It is that of a leader specialising in restructuring heritage houses, at the intersection of product, strategy, and operational transformation.

Leader influenced by Japan and the long-term view

Beyond her CV, Barbara Werschine cultivates the image of a leader who speaks as much about craftsmanship, transmission, and a “long-term view” as she does about growth and profitability.

She speaks Japanese and professes a long-standing fascination with Japan, its expertise, and its culture of craftsmanship. In her public statements, she regularly mentions “the value of time”, the preservation of artisanal crafts, and the need to build brands that can endure. In a recently published text on artistic crafts, she wrote: “True luxury is not the product. It is the time spent.”

This vision resonates particularly with Lanvin's historic DNA. Founded in 1889 by Jeanne Lanvin, the house has long cultivated an approach to luxury based on decorative refinement, artisanal expertise, and the world of 'art de vivre'.

It is precisely this heritage that Barbara Werschine seems to want to reactivate.

Reviving Lanvin without betraying its heritage

The mission, however, promises to be delicate. Since the departure of designer Alber Elbaz in 2015, Lanvin has struggled to regain lasting creative and commercial stability. Despite several changes in artistic direction and strategy, the house has never recovered the momentum of the 2000s.

According to results published by Lanvin Group, the group recorded a turnover of 240 million euros in 2025, a decrease of 18 percent year-over-year.

The Lanvin brand itself saw its sales fall by 30 percent to approximately 58 million euros. This occurred amid a global slowdown in luxury, as well as internal restructuring and optimisation of the distribution network. The group, majority-controlled by the Chinese conglomerate Fosun since 2018, has been implementing a vast transformation programme for several months. This includes store closures; cost reductions; a refocus on priority brands; and the sale of its Italian subsidiary Caruso.

In this context, Barbara Werschine appears to be a profile capable of combining financial discipline with creative repositioning.

Lifestyle as a new area for expansion

According to WWD and several specialised media outlets, the new leader also wishes to gradually expand Lanvin beyond ready-to-wear.

The projects mentioned include the development of accessories, leather goods, and menswear, as well as lifestyle extensions related to decoration and the home. This strategy is not accidental. In contemporary luxury, home and lifestyle categories have become increasingly important growth drivers for heritage houses, such as Hermès, Gucci, or Loro Piana.

For Lanvin, the challenge is to recreate a coherent brand universe while diversifying revenue streams in a luxury market that has become much more volatile.

Appointment symptomatic of post-crisis luxury

Ultimately, Barbara Werschine's arrival at Lanvin also says something broader about the current luxury industry.

After years of hyper-growth, the sector is entering a much more demanding phase. This is marked by the Chinese slowdown, shifts in consumer spending, and growing pressure on profitability. In this new cycle, groups are seeking fewer “conquest” profiles and more leaders capable of restructuring brands without distorting them.

The choice of Barbara Werschine precisely illustrates this new generation of hybrid leaders: simultaneously strategists, managers, product specialists, and defenders of the houses' heritage.

Spanish clothing brand Mango announced on Tuesday the opening of 45 new stores and the creation of nearly 700 jobs in France by 2028, following a 66 million euro investment promised last week at the Choose France summit.

Present in France since 1994, its “first international market”, the company plans to open “15 new stores per year, creating approximately 15 jobs per store”, it stated in a press release. “This expansion” will mark the brand's arrival in ten additional cities, it added. The openings will be distributed between large cities and “small and medium-sized towns, which currently represent more than 80 percent” of its 250-strong point-of-sale network.

Investment welcomed by the executive

The 66 million euro investment, announced last week at the annual Choose France summit organised by the Élysée Palace, “marks a new stage in Mango's long-standing commitment” to the country, insisted the company, which employs around 1,700 people there.

It was praised by Emmanuel Macron. “Mango chooses France (...) ¡Gracias!”, he celebrated on X.

While a portion of the ready-to-wear market has suffered greatly in recent years, leading to a cascade of closures, the chain boasts of “more than 20 percent growth in turnover in France over the last five years”, its France director, Yann Bayon, revealed to AFP in August 2025.

Solid financial health on a global scale

With over 2,900 points of sale in 120 countries, the unlisted Catalan brand claims to have generated 242 million euros in net profit in 2025, an 11 percent year-over-year increase from 219 million euros in 2024.

Its turnover reached 3.8 billion euros, with 78 percent generated outside of Spain, compared to 3.34 billion in 2024, the year of the previous record.

The clothing group attributes this strong commercial growth to the dynamism of its online sales, which represent “about a third” of its turnover, as well as to the opening of more than 260 new stores in 2025.

Scottish designer Jonathan Saunders has stepped down from his role as chief creative officer at & Other Stories. The announcement comes a little more than a year after he took up the then newly created position.

According to a statement posted on LinkedIn on June 9, Saunders will officially leave the H&M Group-owned brand sometime in mid-August, following a personal decision to move back to the United States to be closer to family.

In the statement, & Other Stories acknowledges the role Saunders played in “shaping the brand’s creative direction and developing the new brand vision,” adding that it will continue to build on this vision moving forward. “We are grateful for his contribution, creativity, and commitment and wish him all the best in his next steps,” concluded the post. 

Saunders first joined the team at & Other Stories in April 2025, taking on the newly-created role of chief creative officer, where he oversaw the brand’s creative vision and was tasked with driving the brand forward into its next phase of growth. In September 2025, & Other Stories unveiled a new ‘brand spirit,’ which included a new logo and a new tone of voice, providing a “fresh approach to creative expression, design and styling”. 

The Glasgow-born designer leveraged more than two decades of industry experience to the role at & Other Stories. A Central Saint Martins graduate, he began his career at Alexander McQueen before launching his eponymous label in 2003, earning a reputation for his bold use of colour and print over the next twelve years. After closing the business in 2015, he served as chief creative officer at Diane von Furstenberg from spring 2016 to the end of 2017. 

He then stepped back from ready-to-wear, relocating his practice to interiors and product design. He continued his ongoing collaboration with The Rug Company, releasing a second rug collection at the London Design Festival in 2018, and debuted his first furniture collection at Frieze Los Angeles in 2022.

& Other Stories has yet to announce plans for a successor.

Online giant Amazon will introduce next-generation AI warehouse robots that are designed to respond to conversational prompts in its European warehouses to improve its deliveries. The upgraded Proteus robot was unveiled by Amazon at an event in its Dartford ​fulfilment center east of London, and is part of a broader 10 billion euro investment in improving its European fulfilment network. 

The new Proteus robot builds on its predecessor and is designed to take on physically demanding tasks, such as moving heavy carts and covering large distances, so warehouse workers can spend more time on managing inventory flow and quality control, according to Amazon. The current Proteus robot, introduced in 2022 as Amazon's first fully autonomous robot and in use at 25 fulfilment centers across the United States, is used in docking areas to move carts weighing close to 400 kgs (882lbs). 

The upgraded version, which will be launched in Europe during the first half of 2027, can travel farther and be used across the entire warehouse, transporting containers from the arrival site to workstations. The next-gen Proteus, roughly the size of a 50-inch flat screen TV, also reacts to conversation cues, making it easier for workers to instruct it. "You tell it what needs to be done. It figures out the priority, the route, the timing," said Scott Dresser, vice president of Amazon Robotics, in a statement. "It becomes your assistant for material movement."

In addition to unveiling the next-gen Proteus, Amazon also presented Stark, a robotic tote-handling system that stemmed from an operations employee idea to improve process and support site safety. The collaborative system is designed to pick full totes from conveyors and place them on carts, reducing repetitive heavy lifting for warehouse workers. First piloted in Barcelona, Amazon plans on rolling it out to 15 European fulfilment centers by  2027. Amazon also showcased Vulcan, its first-ever robot with a sense of touch, designed to handle more complex picking tasks at Amazon's Hamburg facility in Germany.

"This transformation is designed to deliver a step-change in how we support our employees and serve our customers," said Armin Cossmann, vice president of operations for Europe. "Customer expectations aren't slowing down—and neither are we."

As part of its investments in Europe, Amazon is set to increase its European fulfillment center workforce by 25,000 over the next few years. The news comes as Amazon plans to open three new fulfillment centers in France, creating a total of 8,000 new permanent jobs. "Europe is at the center of how we're building our operations for the future," added Dresser. "The investment we're making here, the talent we're building with here, the technology we're deploying here—this is where the next chapter of operations innovation is being written."

Madrid – The historic French house Christian Dior, the origin of the luxury empire built by French entrepreneur Bernard Arnault, is once again kicking off the summer season. The brand is celebrating with the opening of its now-traditional pop-up in Ibiza. This marks the first time the store has opened on the island with Jonathan Anderson as the new head of Dior's creative department.

The resort store is located in the same Ibiza Marina building that the emblematic French fashion house has occupied season after season for its major summer activation. It takes over from the brand's last pop-up on the island during the summer 2025 campaign. That ephemeral point-of-sale opened during a transition period for Dior's creative direction. It was launched following the prevailing guidelines within the French house, set under the creative direction of Maria Grazia Chiuri as head of design for the womenswear collections. From this position, she had designed a final Dioriviera collection, which is preferentially reserved for this series of exclusive seasonal stores. Jonathan Anderson did not debut until October 2025 with the presentation of his first womenswear collection.

Following the completion of this process, and with Jonathan Anderson's “new era” at Dior now fully underway, the celebrated maison returns to Ibiza once again. It presents the first Dioriviera collection designed for the house by the British designer. It also does so from the first resort store on the island conceived under the new creative direction that Anderson has begun to shape for the fashion house. These impulses and intentions have crystallised into elegant and cheerful nautical, summer, and bow motifs, inspired by the work of Frenchman Christian Bérard. Dior highlights that Bérard, a multifaceted artist, was one of Christian Dior's closest friends during his lifetime. This friendship led him to actively participate in various projects for the fashion house, including designing the interiors of the historic headquarters at 30 Avenue Montaigne in Paris. This also featured the historic “boutique Colifichets” which the brand opened inside, dedicated to selling small accessories. Through this boutique, Dior began to expand its universe beyond the realm of Haute Couture.

From Ibiza to Capri, via Portofino and Bangkok

The same aesthetic used to design the atmosphere of the Dior resort store in Ibiza has been implemented by the house in its other seasonal stores for the spring/summer 2026 campaign. This has been done on a different scale and with various harmonious elements. During this summer season, Dior will have similar points-of-sale to the one on the Balearic island in a variety of exclusive holiday destinations, such as Capri and Portofino (Italy); Mykonos (Greece); Bodrum (Turkey); or Saint-Tropez (France).

Additionally, the French house will bring this same “relaxed” holiday universe to a series of different flagship boutiques. These include its store in Bangkok, its concept store in the Seongsu district of Seoul, and its historic headquarters at 30 Avenue Montaigne in Paris. All these spaces will be revealed to the public, finely decorated with nautical and marine motifs inspired by Bérard's work. These environmental elements create a unique, immersive experience. Depending on the boutique and resort store, this will be completed with interiors featuring rattan furniture; terraces and pools with sun loungers and umbrellas designed by the French house; or even signature cocktails and boat trips along the Riviera.

“Designed for the first time by Jonathan Anderson,” the Dioriviera collection “pays homage to Monsieur Dior's cherished dreams of new horizons.” Based on this aspirational drive, Dior's management explains that for this season's marketing, its main boutiques and new resort stores are debuting a new scenography that “is inspired by the world of the sea.” “As a joyful celebration of that sun-drenched universe, the installations” and seasonal atmospheres “reveal a fleet of sailboats in vibrant summer colours.” The French fashion house adds that these motifs, “unfolding across facades and shop windows, are adorned with patterns evoking the works of Christian Bérard, with playful bows and striking stripes.” For the “legendary 30 Montaigne, large seashells gracefully and poetically house perfumes and jewellery pieces, as if they were precious treasures.”

The US footwear and accessories company Designer Brands Inc. (DBI) has announced its financial results for the first quarter ended May 2, 2026, revealing top-line growth alongside structural profitability improvements.

Net sales for the group increased by 1.4 percent to 696.40 million dollars compared to the same period last year. Total comparable sales decreased by 1.1 percent during the period. Profitability saw a notable increase, with gross profit rising to 315.30 million dollars from 294.50 million dollars in the first quarter of the prior year, pushing the gross margin up by 2.40 percentage points to 45.3 percent from 42.9 percent.

Reported net income attributable to DBI was 1.20 million dollars, resulting in diluted earnings per share (EPS) of 0.02 dollars. Adjusted net income reached 3.80 million dollars, or an adjusted diluted EPS of 0.07 dollars.

Brand portfolio segment drives performance

The US group attribute the positive start to the financial year to strong momentum within its wholesale and owned brands division, coupled with stabilizing trends in its core retail network.

According to chief executive officer Doug Howe, the structural shifts implemented across pricing discipline, channel profitability, sourcing, and inventory management directly fueled the gross margin expansion. Howe stated that double-digit sales growth in the Brand Portfolio segment helped offset the broader macroeconomic challenges affecting the retail environment.

Following the initial performance of the fiscal year, the leadership team expressed confidence in achieving the high end of its full-year EPS guidance range.

Lovely Professional University is promoting its School of Fashion Design as a hub for industry-focused fashion education, combining creative training with emerging technologies, sustainability, and strong employment outcomes.

According to the university, the school offers undergraduate and postgraduate programmes in fashion design, apparel production, and fashion management, with students trained in areas including digital textile design, virtual sampling, 3D design tools, CAD, and AI-assisted trend forecasting. The curriculum is supported by specialised facilities such as garment construction, pattern-making, textile testing, and digital design laboratories.

The institution reported a highest placement package of ₹18 lakh per annum, with graduates securing roles at companies including Nike, Puma, Tommy Hilfiger, Trident Limited, Reliance Industries, Arvind Limited, and Shoppers Stop. More than 70 recruiters are said to hire from the programme.

The school places a strong emphasis on practical learning through internships, live industry projects, design competitions, and collaborations with organisations including Lakmé Fashion Week and the Fashion Design Council of India. Students also participate in international exchanges through partnerships with more than 500 universities worldwide.

Research and innovation remain key priorities, with the university highlighting a ₹6 crore grant from India's Ministry of Textiles under the National Technical Textile Mission. Areas of research include sustainable textiles, wearable technology, inclusive fashion, and environmentally conscious design practices.

As fashion education increasingly evolves to meet industry demand for digital skills and sustainability expertise, LPU says its approach is designed to equip students with both creative and commercial knowledge while preparing them for careers across design, merchandising, communication, retail, and entrepreneurship.

Copenhagen International Fashion Fair (CIFF) has announced a new long-term collaboration with Paraiso Miami Swim Week to “connect the worlds of fashion, resort wear, wellness, and contemporary lifestyle across Copenhagen and Miami”.

Announced at the 22nd edition of Paraiso Miami Swim Week, which took place from May 27 to 31, the strategic partnership will officially launch at CIFF 67 this August in Copenhagen, where Miami Swim Week will host a dedicated showcase highlighting selected brands from its international portfolio, including Miami-based resort wear label Sigal.

The move will see CIFF soft-launching a new category focused on resort and swimwear brands, as part of its expanding strategic focus on activewear, wellness, and lifestyle.

Sofie Dolva, director of CIFF, said in a statement: “We have long explored the right framework for a partnership between CIFF and Paraiso Miami Swim Week, and now the timing and vision feel perfectly aligned.

“Fashion today extends far beyond clothing, intersecting with lifestyle, wellness, travel, and community. Through this partnership, we have the opportunity to engage new international audiences, strengthen our focus on these evolving categories, and create a platform that moves beyond the traditional fashion week format.”

Natalija Dedic Stojanovic, the co-founder of Paraiso Miami Swim Week, added: “This partnership represents a natural evolution for Paraiso Miami Swim Week as we continue expanding the global conversation around resort wear and the cultural influence of destination-driven fashion.

“CIFF brings a highly respected international platform with a forward-thinking perspective on fashion and business, and together we have an opportunity to create meaningful cross-market visibility for brands operating at the intersection of fashion, travel, and contemporary lifestyle.”

A new dyeing method has been introduced to the fashion industry. Researchers from TU Delft and fashion label Hul le Kes have demonstrated the possibility of colouring garments using pigment from waste produced during wastewater purification.

According to the researchers, the process uses an innovative pigment from wastewater. This pigment is extracted from the waste sludge of water treatment plants and is a melanin-like biopolymer. Melanin is known for its functional properties, which include UV protection; antioxidant effects; redox activity and metal chelation.

Melanin has been used in the fashion industry for some time, but it is often extracted from cuttlefish ink. “However, reliance on this source raises ethical concerns and limits availability due to the seasonal nature of cuttlefish harvesting. While chemical synthesis methods exist, studies have shown that synthetic melanin differs in structure and function from its naturally derived counterpart. The ability to recover melanin-like material from sludge therefore offers a promising and more sustainable alternative,” stated the press release.

The initial items created in collaboration with fashion label Hul le Kes are a proof of concept. Further testing and approvals are required before the garments can be brought to market. This represents a significant step towards a new dyeing method.

To celebrate the 130th anniversary of the Monogram, Louis Vuitton is set to unveil the Monogram Emblème in June 2026, a highly tactile jacquard canvas that reinterprets the iconic House signature.

Monogram Emblème honours the legendary motif, drawing inspiration from the original cotton canvases that once adorned travel trunks. The jacquard is now made from a blend of GOTS-certified cotton and linen fibres to create a unique texture. This durable, water-repellent fabric is also embellished with a new, denser pattern reminiscent of embroidery.

The innovative canvas comes in an array of colours drawn from the Vuittonnier – the House's signature colour library. The textured effect is enhanced by deep tones, created using five differently coloured threads. The Pre-Fall 2026 collection, arriving in stores on 5 June, introduces new shades: Peuplier, inspired by the trunks' wooden structure, and Rose Ruban, a tribute to the ribbon detailing on historic trunk designs.

In September 2026, Monogram Bleu, taken from the 1930s register, and Vert Jura, inspired by the flora of Louis Vuitton's native region, will be launched.

Monogram Emblème adorns the House's iconic model, including the Alma, Neverfull, Speedy, Noé and Keepall bags, as well as the Side Trunk, which reflects Louis Vuitton's heritage as a luggage maker. The motif also appears on small leather goods, shoes and accessories, underscoring the uniqueness of this new signature.

Chinese sportswear brand Li-Ning is continuing to push its global strategy plans with a new long-term partnership with basketball star Stephen Curry, who parted ways from his previous partner Under Armour last year.

In a statement, Li-Ning said the partnership with Curry is built on “long-term brand co-creation,” with a focus on multi-category performance product development and sports culture initiatives, as well as commitment to engage the next generation of athletes as it looks to “shape what's next for global sports brands”.

The deal will see NBA star Curry wearing Li-Ning basketball sneakers on court, with the Golden State Warriors player stating he was impressed by the Chinese company’s technological innovation and product performance capabilities.

Commenting on the partnership, Curry said in a statement: "The quality, comfort and performance of their shoes are what impressed me the most. That experience gave me real confidence in Li-Ning sneakers on the court and helped me see that Li-Ning could be the right partner to deliver the innovation and design I want Curry Brand to stand for."

The move will also see Li-Ning backing his Curry Brand, which originally launched in 2020 as a sub-brand under Under Armour. When he left the American company, he kept full ownership of all his logos, trademarks, and intellectual property.

NBA star Stephen Curry finds a new home at Chinese sportswear brand Li-Ning

Li-Ning adds that it plans to advance the global development of the Curry Brand, starting with basketball and golf, before extending into broader consumer lifestyle sport categories. The Chinese giant also said it has plans to open stores in China and the US, as it continues expanding its global footprint.

Curry added: "When I think about the future of Curry Brand, I think about building something that lasts, something that continues to push the game forward and creates real impact for athletes around the world.

"That's what makes this partnership with Li-Ning so exciting. Mr Li Ning built this company from the perspective of an athlete, with the same belief that sport can change lives and inspire the next generation. I felt that in the conversations we've had and in the product I've tested. The quality, performance and innovation are real, and it instils confidence in what we can create together across basketball, golf and lifestyle.

“For Curry Brand, this is about growing the right way, with a partner that understands the standard we're trying to set and the good we want to do."

World-renowned Olympic gymnastics champion Li Ning founded the sports brand in 1990, shaped around his experiences of sport and performance, offering footwear, apparel and hard-goods equipment for basketball, running, fitness, badminton, table tennis, and sports lifestyle, and in recent years expanding into outdoor, tennis, and pickleball.

It has grown into one of the top sportswear and athletic equipment companies in China, reportedly pulling in around 4.3 billion US dollars in annual revenue. While the majority of Li-Ning's revenue has come from inside China, the company is hoping that its landmark partnership with Curry will boost its global presence.

"Sport has the power to ignite passion and inspire each generation to push beyond its limits," said Li Ning, founder and chairman of Li-Ning Company. "Li-Ning and Curry share a deep understanding of sport and a common commitment to performance, innovation and the next generation of athletes. We look forward to building on this partnership to keep pushing boundaries and create new possibilities for global sport."

Madrid – The Valencian company Recover has announced its entry into the recycled cotton yarn market. This move advances its dual objective of establishing itself as the global benchmark for sustainable solutions in the fashion industry, while also promoting its evolution towards a more environmentally committed model. The offering is available to manufacturers and brands from today through its new family of recycled cotton yarns, “Recover Yarns”.

According to the Valencian company's management, Recover is launching “Recover Yarns” to accelerate the use of recycled cotton throughout the textile and fashion value chain. This new and first range of finished, ready-to-use recycled cotton yarns is being made available to brands and manufacturers of all sizes by the Spanish company, a leader in textile innovation and one of the world's largest producers of recycled cotton fibres. Externally, the launch advances the company's goal of driving the textile industry's transformation towards a more sustainable model. Internally, Recover completes its business model and diversification strategy. It is now an integrated platform offering sustainable, industrial-scale solutions for manufacturers and brands, ranging from recycled cotton fibres, to fabrics and finished garments, and now yarns.

“By transforming our fibre into ready-to-use yarns, we make it easier for brands and manufacturers to move from ambition to implementation of their sustainability strategies,” stated Anders Sjöblom, chief executive officer of Recover, in a statement shared by the textile company. With the launch of this new yarn vertical, the company now operates as “a fully integrated ecosystem encompassing fibre, yarn, fabric and finished garment, connecting every stage of the value chain under the umbrella of a reliable brand, guaranteeing clarity, traceability and circularity” for its customers, “from raw material to finished product”.

An adaptive solution for any scale, use and destination

Available for purchase from today, Recover highlights the unique characteristics of its new recycled cotton yarn family. The company emphasises its value as a flexible solution adaptable to multiple uses, production scales, and manufacturing origins and destinations. These features make the collection an optimal solution for any active participant in the textile and fashion industry.

The new yarns, developed in collaboration with Recover's existing global network of spinning mills, offer a wide variety in terms of composition, blends and technical capabilities. This diversity allows them to be used for applications ranging from jeans and denim garments to jumpers, workwear and fleece linings. The Valencian company highlights that thanks to its global network of over 150 collaborating spinning mills, the “Recover Yarns” range can support brands in any geographical location, regardless of their required production volume.

The “Recover Yarns” respond “to the need for adaptable product solutions that allow the integration of recycled cotton at an industrial scale,” noted Enes Adak, product director at Recover. The textile company highlights that its new yarns “simplify the sourcing and development of recycled cotton yarns” within the industry. They offer “a versatile range of options and yarn collections that adapt to market needs, innovative blends and technologies.” This “adaptive approach” ensures the “Recover Yarns” platform can support brands of all sizes in terms of volume, geography, price points and end uses, while facilitating long-term collaboration with business partners. The company reiterates that it offers “a flexible and scalable solution that evolves alongside the production and sustainability strategies” of industry players, “keeping recycled cotton at the heart of its portfolio” of solutions.

Canadian model Coco Rocha will debut her fashion brand Off/Duty on QVC in autumn with a collection that combines “effortless sophistication, versatility, and comfort”.

Off/Duty by Coco Rocha is being developed by Xcel Brands, a media and consumer products company specialising in building influencer-led brands through social commerce and livestream shopping.

The brand is described as an “elevated fashion and accessories” line, centred on Rocha’s “unique perspective on style,” inspired by the pieces she has relied on throughout her two-decade career in the fashion industry.

“Off/Duty by Coco Rocha is built around the belief that the most important pieces in a woman's wardrobe are the ones she reaches for again and again,” adds the brand, with highlights expected to be oversized sweaters, denim, statement outerwear, and tote bags, which draw inspiration from Rocha’s personal style.

Commenting on her new fashion brand, Rocha, said in a statement: "Fashion has always been about confidence and self-expression for me. "With Off/Duty by Coco Rocha, I wanted to create a collection that empowers women to feel elevated, stylish, and comfortable in every part of their lives, whether they're travelling, working, relaxing, or stepping out.

“This brand reflects the pieces I genuinely love to wear when I'm off the runway and off duty."

Robert D'Loren, chairman and chief executive officer of Xcel Brands, added: "Coco Rocha is one of the most recognisable and influential figures in fashion today. With Off/Duty by Coco Rocha, we are bringing Coco's extraordinary fashion credibility, modern point of view, and global influence to QVC customers in an accessible and exciting way.

“The brand perfectly captures the intersection of luxury-inspired style and everyday versatility that today's consumer is seeking.”

The collaboration between Rocha and Xcel Brands was first announced in June 2025.

The Competition and Markets Authority (CMA) in the UK has opened a formal review into Ebay’s planned acquisition of Gen-Z focused fashion resale platform Depop, to determine the “impact that the transaction could have on competition in the UK”.

The UK’s competition regulator said it has finished the first part of its information-gathering process and closed its invitation to comment, which allowed interested parties to comment on the proposed transaction.

According to the CMA, the merger inquiry will run until August 6, when it will then clear the deal or suggest further investigation.

Ebay announced in February that it planned to buy Depop from Etsy for approximately 1.2 billion US dollars in cash, with the acquisition expected to close in the second quarter of 2026.

The deal is expected to help Ebay expand its reach among younger shoppers, as nearly 90 percent of Depop’s 7 million active buyers are under 34.

In February, Jamie Ianonne, chief executive officer of Ebay, said: “Depop has built a trusted, social-forward marketplace with strong momentum in the pre-loved fashion category, and we are confident that as part of Ebay, Depop will be even more well-positioned for long-term growth, benefiting from our scale, complementary offerings, and operational capabilities.”

For the second consecutive year, Levi’s® had a strong presence at Primavera Sound Barcelona as the festival's exclusive denim partner. Across three locations – the Levi’s® Plaza, the 501® Club and the Levi’s® Warehouse – some of the world's most exciting creatives came together to celebrate music, style and the power of self-expression against the backdrop of Barcelona.

The event kicked off with a launch party on Wednesday, June 3, at Little Beach House Barcelona (Soho House). Guests, local and international friends, and members of Barcelona's Two Jeys community celebrated to DJ sets by Sophia Ziskin and POGO.

As a cultural institution attracting music fans from around the world, Primavera Sound Barcelona provides a global platform for creatives, artists and the community to immerse themselves in the world of Levi’s®. Throughout the week, the brand welcomed guests from the US, Europe and beyond. This was a clear indication of the festival's international reach and cultural influence.

The line-up on the Levi’s® stages included Rose Gray, Barry B, Natalia Lacunza and others, bringing together a mix of established and emerging voices that reflected the brand's creative spirit. Beyond the Levi’s® stages, the brand was also represented across the entire festival site. Artists such as Fakemink, Role Model, Yard Act, Raly and Addison Rae's dancers wore Levi’s® during their weekend performances.

At the Levi’s® Plaza, many celebrity guests including Paul Mescal, Harris Dickinson, Lila Moss, Lily Chee, Stefanie Giesinger, Nicole Wallace and Alice Pagani joined Levi’s to celebrate music, style and self-expression.

Throughout the weekend, festivalgoers could explore the exclusive Levi’s® x Primavera Sound Barcelona 2026 collection. Inspired by retro sportswear and the distinctive colour-blocking of the 1992 Olympic design, the collection featured graphic T-shirts, hoodies and tote bags, alongside Levi's® timeless denim classics. A particular highlight was the Tailor Shop at the Levi's® Plaza. Here, visitors could transform their items into unique pieces with exclusive Primavera pins and patches. New this year was a photo booth where Red Tab™ members could capture their favourite festival moments to take home as a souvenir.

The 501® Club, created in collaboration with COLORSxSTUDIOS, focused on musical experimentation and emerging voices from all genres. Meanwhile, the Levi’s® Warehouse provided a stage for innovative DJ talent, placing the brand at the heart of global club culture.

The global textile industry appears to be turning a corner, but this is more likely a fragile and possibly temporary improvement than the start of a durable recovery. According to the 38 th ITMF Global Textile Industry Survey, conducted worldwide during the second half of May 2026, business sentiment, order intake, order backlogs and capacity utilization all improved versus March — yet every indicator remains weak by historical standards, and rising costs cast doubt on how long the upturn can last.

The new survey shows a business situation balance rising to −17 percentage points (pp) from −25pp in March. Business expectations climbed to +16pp (from +5pp), order intake to −9pp (from −25pp), backlogs to 2.5 months and capacity utilization to 74%. Order cancellations stayed contained and inventories lean low. The direction is encouraging, but the levels rest on a thin and fragile cushion.

The upturn was geographically uneven. Africa led on business situation, order intake, backlog and expectations, alongside gains in Europe and North & Central America. The Asian production hubs lagged, with East Asia weakest on both current conditions and the six-month outlook. Along the value chain, segments closest to the end-consumer slightly fared best, while capital-goods and upstream segments trailed.

Cost and demand pressures persist: weak demand remains the major concern for 53% of participating textile manufacturers, followed by raw-material prices (52%) and energy prices and geopolitics (42% each). The survey links rising costs to the war in Iran, which has pushed crude oil to around USD 100 and lifted gasoline prices by roughly 50% since March, feeding inflation and squeezing margins. Whether the May reading holds will depend largely on energy prices and the resolution of ongoing conflicts.

Washington - The United States released an updated list on Monday of Chinese companies it considers to be aiding the country's military.

The list includes, among others, e-commerce giant Alibaba, search engine provider Baidu and electric vehicle manufacturer BYD.

The US Department of Defense announced the designations just weeks before President Donald Trump was due to meet Chinese leader Xi Jinping in Beijing, as both sides sought to maintain stability in their bilateral relationship.

The Pentagon's update comes months after it released—and then withdrew—an earlier version of the list without explanation.

The new list is largely similar to the version briefly published in February.

Two memory chip manufacturers were reinstated to the blacklist after being removed at that time: ChangXin Memory Technologies and Yangtze Memory Technologies.

“This updated list of Chinese military companies is a warning to American companies, all levels of government and the American people,” said representative John Moolenaar, republican chairman of the House Select Committee on China.

In a statement, he urged US companies to “stop doing business with these threats to our national security” or risk “facilitating China's military rise”.

Among the companies affected are also some of China's leading technology giants involved in the artificial intelligence race, such as Alibaba, Baidu and Tencent.

Baidu rejected its inclusion on the list in a statement on Chinese social media, calling the accusations “completely unfounded”.

“The claim that Baidu is a military company is completely baseless. We will not hesitate to use all resources at our disposal to have the company removed from the list,” a spokesperson said.

Alibaba called its inclusion on the list “a mistake” and threatened legal action.

“Alibaba Group is not a Chinese military company nor is it part of any military-civil fusion strategy,” the company said in a statement.

Trump invited Xi to visit Washington in September. The list could stoke tensions between the world's two largest economies.

adidas and END. announce a collaboration centered on the adidas Stan Smith, marking the opening of a new dedicated adidas concept space within END. Milan. Designed exclusively for the store, the space features bespoke interiors – including warm wood veneer - and brings together product, spatial design, and visual material drawn from the Stan Smith's fifty-year cultural life. It is the first installation of its kind for END. and adidas.

The Stan Smith was introduced in 1973 as a tennis performance shoe. In the decades since, it has accumulated a cultural presence that cuts across generations, subcultures, and aesthetic codes – worn continuously by people who have little in common beyond the shoe itself.

END. is a British cultural brand with locations across the UK and in Milan, known for its position at the intersection of fashion, street culture, and design.The celebration of the collaboration culminates on Saturday, June 6, with an exclusive event at END.

Milan anchored by Portrait of Milan, a photography exhibition curated by Reference Studios with photographs by Piotr Niepsuj.

Piotr has been based in Milan for over a decade. His photographic practice is rooted in direct, close observation of people and urban life, and his work has appeared in publications including Dazed, Vice, and Port, alongside campaigns for brands including Off-White.

For Portrait of Milan, he photographed figures from across Milan's creative community in their studios and around the city – each wearing the adidas Stan Smith. The subjects include model agent Polly Paola Ruta, casting director Julia Asaro, stylists Vanessa Bolognini, Francesca Piovano, and Domenico Kang, editors Yves Tsou and Gloria Bertuzzi, photographers Federico Hurth, curators Domenico Costantini, music producers and musicians Lvnar, Alessandra Bonetti, and Tommaso Naccari, creative director Daniele Attia, artist and painter Luca Di Maggio, tattooer and musician Mino Luchena, celebrity stylist Silvia Ortombina, bar manager J Black Champagne, and Mara Prandato, among others.

Taken together, the portraits form a document of the city and the people currently working in it.Sound for the evening is curated by Jim C. Nedd, artist and musician.

The adidas Stan Smith is available in all END. stores and online.

Madrid – British investment group Cap Capital is finalising the details of the new strategic plan for the relaunch of Pronovias. This follows the court-ordered award of its production unit to the investment holding company by the Commercial Court No. 9 of Barcelona. The fashion group has just revealed the main key points of this roadmap.

According to information from Pronovias' management, the bridal fashion group is entering a new chapter under the control of Cap Capital. The company has stressed that it will continue to focus on developing and growing based on the same pillars that have “defined its trajectory”. These pillars have led it to become a historic mainstay of the bridal world, stemming from its role as a pioneer in bridal prêt-à-porter. These pillars are identified by its firm commitment to design, quality, innovation and its international focus.

Building on this foundation, Pronovias is entering a new phase. The bridal fashion group highlights that the “new Pronovias” under Cap Capital's control will maintain its main objective of promoting a renewed business model. This model will be more modern, more connected and better prepared to lead “the next evolution of the bridal sector”. They emphasise that this framework will be supported by the “stability” and “long-term” vision with which the British investment group has taken control of the historic Spanish bridal fashion group. The company will focus on implementing strict operational discipline to boost its growth. The aim is to return the fashion group to its position as a leading and benchmark company at the forefront of the bridal world.

“The company is facing this new cycle with a clear objective”, which involves “strengthening the shopping experience, evolving the boutique model and accelerating its international growth through a stronger, closer and more connected commercial network that meets the needs of brides”, Pronovias' management stated. “In this context”, they added, “franchises will play a key role in expanding the brand's presence and accelerating its development in strategic markets”.

Franchises, the United States and AI

Delving into this new strategic plan, Pronovias has announced that it will be officially presented on September 8, 2026. During this event, the bridal company will also present its new store concept, “designed to elevate the shopping experience, strengthen the connection with customers and open a new stage of growth for the brand”. It is positioned as one of the main pillars of the roadmap, alongside a strong focus on the United States and advancements in the implementation of artificial intelligence (AI).

Regarding these three main strategic pillars in more detail, Pronovias has confirmed the “key role” that franchised stores will play in the new commercial and business structure of the “new Pronovias”. This commitment to the franchise model will be complemented by the company's reduced and well-maintained network of own-brand stores. The number of stores is expected to shrink significantly from the 53 it operated before the acquisition by Cap Capital. This aligns with the investment holding's intention to reduce the company's operating expenses, as stated in its acquisition proposal for Pronovias.

The second strategic pillar is a sustained commitment to internationalisation, which will translate into a decisive and prioritised offensive in the US market. In this country, Pronovias will seek to strengthen its presence and increase its consolidation through a more local and competitive offering and experiences. At the same time, the company remains firm in its determination to continue strengthening its position in Europe.

Finally, the third pillar, which ties in with the previous points, is the key role that new technologies, especially artificial intelligence (AI), will play in this new chapter for Pronovias. This point initially creates some friction and reveals potential risks. Technology itself, and even more so AI, tends to feel cold, distant and disconnected. These feelings do not align with the emotional universe on which the bridal industry is based. However, Pronovias is developing a project “aimed at redefining the bridal experience, integrating inspiration; personalised advice; customer knowledge; and commercial capabilities into a more connected ecosystem”. More details about this initiative are expected to be revealed at the September presentation. It will seek to “improve the bride's experience and enhance the relationship between the brand, the ‘boutiques’ and its international network”.

“We are starting a new phase focused on strengthening our distribution channels, evolving the in-store experience and accelerating our international growth,” summarised the management of Pronovias. For this new chapter, “we want to be closer to brides, offer an increasingly personalised experience and continue to expand our presence in key markets such as the United States”. They added that in pursuit of these key priorities and objectives, “technology and artificial intelligence will be fundamental tools to accompany this transformation and build the future of the bridal experience”.

South African specialty retail group TFG (The Foschini Group) reported a 29.4 percent increase in sales to 488 million pounds (652 million dollars) for its TFG London division during the financial year ended March 31, 2026.

The growth was primarily driven by the recent acquisition of British fashion brand White Stuff, which performed well and recorded pro forma sales growth of 4.3 percent. Excluding the impact of the White Stuff acquisition, legacy UK turnover remained flat in pounds. Management attributed the stagnant organic sales to a highly constrained discretionary consumer spending environment across the UK, which has been severely impacted by elevated living costs and subdued consumer confidence.

Operations hit by category weakness and cyber disruption

The performance of the legacy TFG London brand portfolio was negatively affected by several operational headwinds during the 12-month period. Key factors included:

Weakness across core occasion-wear categories;

Softer overall trading volumes within department store concession channels;

Significant operational disruption resulting from a major cyber incident that affected a key online concession partner.

Negative leverage pressures operating profit

Although regional management remained focused on protecting operating profit margins through targeted cost containment and reduction initiatives, the flat organic sales generated severe negative operating leverage.

Consequently, segmental EBIT declined by 65.4 percent before accounting for brand impairments and the acquisition costs incurred in the prior financial year.

Reflecting a deterioration in long-term cash flow expectations under current economic conditions, the parent group recognised non-cash impairment charges against its UK-based Phase Eight brand. Moving forward into the next financial year, profitability for TFG London will remain heavily dependent on disciplined gross margin protection and strict cost management.

Interview

Sanne Schepers has fond memories of the ArtEZ University of the Arts in Arnhem, the Netherlands. These memories made her think long and hard before applying for the head of department position. "Do I dare take on a new role? Am I going to take that step to bring about a change in my relationship with the department?" she explains. Now, with her first academic year nearly complete, the graduation show for the new class is just around the corner. FashionUnited meets her in Arnhem.

Even before the interview begins, Schepers gives a tour of the ArtEZ fashion department. “We emphasise craftsmanship and a complete understanding of the garment-making process.” We walk into an illustration class and also a class on fabric design. “You can already see a lot of personality in the students' work in every year of study.” For instance, one table is covered in black and white, while another features a combination of pink, orange and blue. “You can see which bubble they are in even in the first year,” Schepers smiles.

The new graduating class at ArtEZ is no stranger to the new head of department. She has been teaching at the academy for several years, so she has had this class in their first, second, third and fourth years of study. “It's as if it was meant to be that this is my first graduating class." In the studio, the students, or perhaps we should say designers, are hard at work. Focused, they each sit at their own workstation. Here too, each designer's individual style is clearly visible. While one works more in black and white, another is very colourful, but there is an overarching theme. “This class is very focused on tactility.” This is a development that can also be seen in the global fashion industry.

Although the graduation show is certainly a peak moment that the students and the academy work towards, it is not over after that. “There are a few more weeks of classes afterwards, and for the graduates, it's time to take the step into the industry.”

With the academic year coming to a close, it is also time for a little reflection. How can the first year be summarised? “Versatile,” says Schepers after a moment of thought. “I have so many new tasks. Whereas I used to be at the forefront as a teacher in the classroom with my hands in the clay, I now also see the back end and business operations. I am much more involved in the layers of the institution and also where the fashion department stands internationally. I get to be more involved in that now, and I really enjoy it. Where do we want to go and what is needed to get there?”

From rowing boat to oil tanker

Before starting her role as head of department, Schepers thought long and hard. She knew that managing her own brand, Schepers Bosman, would be very different from managing a fashion department. “I come from a small design company where we run everything ourselves. If we make a decision, the email is sent tomorrow and everything is set in motion. Now I am in a large organisation with many more departments. That also means more support, but it is an oil tanker and I was in a rowing boat before. I had expected this and I take it into account, but it is still new to me.”

She was also aware that she would be the successor to Matthijs Boelee, who was associated with the academy for over 20 years. “I feel I have taken over the baton well - that the relay race has simply continued. I don't want to say it is easy, but it has been better than I expected. You never know one hundred percent what is coming your way and how you will react to the position beforehand. You jump in at the deep end, but if I may say so myself, the baton has been firmly passed on.”

I am focusing on the craftsmanship of the designs and showing that on social media and in our communications.

One element that helps is that Schepers and Boelee are on the same page when it comes to their view of the fashion profession. “We are completely aligned regarding craftsmanship, construction and the tactile aspects of fashion design. I wanted to continue that in my own way. The core of the academy remains incredibly solid in that sense.” However, Schepers says, a breath of fresh air will blow through. “I have a different view and am from a different generation. I have a different network and a different perspective within that viewpoint.”

Schepers indicates that she wants to be more public about what happens at ArtEZ. “I am focusing on the craftsmanship of the designs and showing that on social media and in our communications. What is the work behind the collections?” She indicates that it is not just about technical skills, but also about the theoretical foundation. “For years, we have been seen as the course where beautiful garments are made, and that is of course the case, but it is also preceded by research, substantiation and a thesis. That is the foundation for the final exam.” She wants to show more and more of that background.

For the final exams, a magazine is also created that uses not only images of the final designs, but also of the studio. “The work-in-progress part. Personally, I find that the most interesting aspect of the profession.” The images are accompanied by texts that delve deeper into the motivation behind the collection.

“I see things here that make me think, ‘show this! This is unique!’ Our students know how to draw patterns; they can drape. They touch everything within the design, from the first fibres of the fabrics to the prints. The designer we train is incredibly aware of all phases of the design process. When they enter the professional world, they have an awareness of how everything is created and who is needed for it.”

Changing industry and ArtEZ's place

“The fashion industry is now more diverse and accessible than when I was a student. Designers now have their own channel via social media. We did not have that. On the other hand, there is of course also the influence of social media on the designer. We first started using Facebook when I was here. So now there is more of a view from the inside out and from the outside in.” Schepers indicates that she sees it as her task to protect ArtEZ as a playground where designers can experiment freely without too much outside influence. “That they feel safe here to still play, challenge themselves and make mistakes.”

Students are more aware of finances, but also of the responsibility they have within the industry.

Another fundamental difference between the current generation and Schepers' own is the awareness of the back end of the fashion industry. “They are very realistic. They are concerned with what is needed for a job or their own brand. We were perhaps a bit more driven by an ideal and less aware of practical limitations. Students now have a positive attitude and are more aware of finances, but also of the responsibility they have within the industry. How do you deal with materials, with your design and the people who make it?”

The focus is also no longer solely on becoming the next star designer. “What can you do and what is your strength? We have such a diversity of graduates. One has their own brand; another has a more theoretical practice; but there are also people who already work within a company. We also emphasise that it is very normal to have a side job when you start your own brand or practice. And that you can also be very happy doing that, having your own practice in that way.”

Being more outward-facing also has to do with the academy's positioning in the international arena. “I have my sights set half on the Netherlands and half abroad. We have an international group of students and many will also go on to work internationally or first pursue a master's degree.” ArtEZ is involved in various international collaborations, including with the Cristóbal Balenciaga Museoa. “We are the only Dutch academy within that international group of schools that works with the Balenciaga museum. It is my job to clarify and strengthen our international positioning.

Head of department and her own brand

With the hustle and bustle just before the final show, you would almost forget that Schepers also has her own fashion brand with partner Anne Bosman. That combination was an important condition for the head of department. “I want to keep one foot in the fashion industry so I can bring all my experiences to the classroom and prepare people for the professional world. I want that interaction.” In practice, Bosman has taken on more of the day-to-day management of the fashion brand, and Schepers works a bit harder during the quiet periods at the academy. “The combination also ensures that we have looked at the brand and really decided what we want. We only want to grow step by step. We are satisfied with our points of sale and our private clients.”

An interesting detail is that Bosman, like Schepers, teaches at ArtEZ. “He was teaching before I was.” Schepers still continues to teach even though she is now head of department. “I absolutely do not want to lose that. It ensures I can get out of my office, away from the computer and sit with the students. That I know what is going on, that I can guide and train them towards their final exams.” She indicates that you cannot manage an academy if you do not know what is happening in the classroom. “Perhaps you can manage it well from a distance, as a manager, but the content is also my responsibility. I cannot do that without being in the classroom.”

On Friday, June 5, is the grand finale for the ArtEZ class of 2026. A proud Schepers will be watching from the wings. Not just at the 'star designers' of tomorrow, but at a new generation of down-to-earth, conscious professionals who are ready for the real fashion world.

In the eaves of the Botanic Sanctuary, a former monastery now a five-star hotel in the heart of Antwerp, fashion fans and professionals have gathered for the annual Fashion Talks. The room is intimate with its pointed roof and wooden beams, especially when so full. It resembles a clandestine church. This is fitting, as Antwerp is something of a fashion chapel, being the birthplace of the Antwerp Six.

Following them, much more talent emerged from Belgian fashion schools. Two of them are on stage today: Julian Klausner of Dries Van Noten and Rushemy Botter with his partner Lisi Herrebrugh of Botter and G-Star. They speak candidly about freedom, pressure and creativity within a major fashion house.

Just do it: Botter

Rushemy Botter and Lisi Herrebrugh, the Dutch design duo behind Botter, continue to break new ground. They had a flying start with their own label in 2018, immediately winning major fashion awards. This was followed by the creative directorship at Nina Ricci and later for G-Star's Raw Research pinnacle line. What have the two learned from these rapid leaps?

The couple was in Rushemy's mother's kitchen when the headhunter called. Nina Ricci was a different kettle of fish: a more classic style and a larger company. Lisi: "Suddenly you had a huge team. The first week we were googling what everyone's job entailed. What does a communications director do? We did not want to let on that we did not know. Now we can be honest about it. We had no idea."

Consciously naive choices

Rushemy describes their acceptance of the role at Ricci as a consciously naive choice. There was no fear of taking on something big. It was not about prestige either, he says: "More a feeling of: we have a foot in the door. We are playing in the Champions League. We are going to Paris, that was a dream for us."

Nina Ricci needed the two for their 'cool factor'. Conversely, the Botter brand required visibility and funding, which was possible with the income from their work in Paris. "All the money we earned, we invested in Botter. The plan was for Botter to grow on its own. However, the reality is that Botter is very creative, Covid-19 hit, and we needed more to keep it alive and going, to continue our dream."

On the first day at Nina Ricci, an inflatable unicorn was waiting for the Botters - a symbol of the freedom that awaited them. The promise was carte blanche. That turned out to be quite a disappointment; there was a lot of pressure, says Lisi. "First you feel the pressure of the numbers. Then you have to be rigid in your vision. After a few years, it was time to move on."

Denim novices

At G-Star, they came in as denim novices. Now they are learning a lot, and it is enjoyable: from how the weaves are put together to the correct position of the fly. That helps to shake up such a company from the inside, says Rushemy. "Denim fanatics know everything, but rarely speak out - there are silent rules. We ask the questions and want to hear the answers that the company had come to take for granted."

Botter as a label was quiet for a while, but a relaunch is coming. "It's going to be sick," says Rushemy. He is not always so positive. There were also periods when they asked each other: will we ever be inspired again? "Sometimes we both feel miserable, then we are very quiet. The one who feels slightly less miserable has to pull the other out of it. We fight this together. It truly is a fight. You fight for your beliefs, for your design, for paying the rent, and for the survival of your company."

Praise for Klausner

Big shoes to fill? Klausner walks in them effortlessly. The brand-new creative director who succeeded Dries Van Noten is received like a superstar in Antwerp. Michelle Obama also wants him to continue this way, begins moderator Chioma Nnadi of British Vogue. Instead of going along with his star status, Klausner calmly explains how he came to his position.

Klausner grew up in Brussels and studied at La Cambre. He eventually ended up in Dries van Noten's Antwerp studio through connections, six years before his appointment as creative director. He describes his promotion as a careful, professional process. It was not just Dries' personal preference; he had to prove himself mainly to senior management.

"Moving into Dries' office was a strange moment for me. It still felt like his office; it is a very special place. It took a while before I felt comfortable in that space.”

Adapting

He learned from Dries not to give up when things go wrong, as it happens constantly. "Dries never wasted time on frustration or disappointment when things did not work or looked different than hoped. He reacted quickly, adapted fast and used setbacks to his advantage. You have to be able to bounce back quickly."

When asked about the archive, amidst high expectations, Klausner has to disappoint. It is an organised system where you mainly see a lot of black garment bags. He describes what Dries has created in forty years as a balance between dream and reality. This is the house's trademark, and Klausner explicitly adheres to it.

"There was always a lot of storytelling and fantasy within the house; however, we also have wardrobes to fill. The goal is to make a piece of clothing that serves someone and gives them joy or excitement. There is nothing more satisfying than someone wearing the pieces time and again, and still with the same affection decades later."

If he has to choose between too daring or too safe and commercial, he chooses the former. "That is also the spirit of the house and of the Antwerp designers: creativity must remain a priority." It is his ode to Dries.

Creative ping-pong

To students and young designers, he advises: dare to make mistakes and explain why something appeals to you. Dries called that creative ping-pong. "To play ping-pong well, you have to be able to explain your choices well.”

When asked what it means to be a Belgian designer, he says: "As a Belgian, you do not take yourself too seriously from the outset. There was hardly any fashion heritage in Antwerp, so the first wave of designers, the Antwerp Six, had everything still to do. There was no weight of a particular heritage or anything to be compared with. That provides a certain creative freedom. The idea of luxury is also not as present here. It is more about quality and creative integrity — something that has meaning and is made with intention. "

FashionUnited travelled to Antwerp at the invitation of Flanders District of Creativity.

The National Football League (NFL) and Fanatics, the licensed sports merchandise platform, have reimagined the classic NFL Nike jersey in the colours of England, France and Australia to celebrate the FIFA World Cup.

Inspired by the fusion of American sport and global football coming to North America, the three jerseys blend the colours, crests and heritage of each football federation, with the signature cut, mesh side panels, a loose fit and a satin twill woven jock tag of a classic NFL jersey.

Each jersey has its own design features, with England’s red jersey featuring the Three Lions crest on both sleeves, while an England wordmark sits above the number 26 on the front and back.

Australia’s jersey has been reimagined in green and gold, fronted by the Football Australia logo above the 26, with the federation's Commonwealth Coat of Arms on each sleeve, while France includes the Les Bleus' famous crest and colours, along with a graphic of the Statue of Liberty’s crown across the shoulders in a nod to it being 140 years since France gifted the statue to the US.

The limited-edition jerseys are available at Fanatics e-commerce priced at 105 pounds / 122 euros / 130 US dollars / 230 Australian dollars.

French womenswear prêt-à-porter brand Grain de Malice is exploring its entry into the Spanish market. This will be through a franchise-based expansion model and the search for a local operator. The brand already reaches Spain indirectly through its digital channel, with a presence on platforms like Zalando.

The company, which specialises in mid-range womenswear, is planning this move as part of its international growth strategy. It already operates more than 200 points of sale outside its home country.

Founded in 2007, the brand has positioned itself in the accessible womenswear segment. Its collections are aimed at women over 35 and sizes range from approximately 36 to 50. Its offering focuses on garments designed for different body shapes, with a stated emphasis on comfort, fit and in-store advice.

The planned expansion model for Spain is based on a commission-affiliation system. Under this system, the brand would retain ownership of the stock and the franchisee would act as a point-of-sale, receiving a commission on turnover. The estimated initial investment is around 100,000 euros, with an entrance fee of 12,000 euros, no royalties, and a marketing fee of 2 percent plus an additional 1 percent. The planned stores have an average area of around 160 square metres, with five-year contracts and a minimum population requirement of 40,000 inhabitants.

On a corporate level, the company has undergone significant changes in its shareholding structure in recent years. After being linked to the Mulliez group ecosystem, it was acquired in 2023 by an investment consortium. This consortium was formed by Groupe Philippe Ginestet, the FE2T fund and its current management team. This change has been accompanied by an acceleration of its retail expansion and a greater commitment to international growth.