Rio de Janeiro Fashion Week (April 14–18, 2026) marked a significant return to the Brazilian fashion calendar after a ten-year hiatus, with the aim of repositioning the city as an international fashion hub and drawing global buyers.

To streamline the national schedule and reduce overlap, organizers IMM shifted São Paulo Fashion Week to the latter half of the year, reserving the first half for Rio. Strongly supported by the city government as part of a broader economic development strategy, the event was projected to generate approximately R$100 million (20 million US dollars) and welcomed around 30,000 visitors.

On the runway, collections moved beyond traditional beachwear, with designers presenting more refined, versatile silhouettes designed to resonate with a broader, international market buying for spring or fall.

Black Minimalism

The presence of black, minimal, and architectural ensembles on the runways marked an intentional shift by designers, moving past traditional vibrant stereotypes, to redefine Brazilian fashion.

Dendezeiro SS27 by Hisan Silva and Pedro Batalha

A black, asymmetric one-shouldered midi-dress featuring a prominent side cut-out and a thigh-high slit.

Handred SS27 by André Namitala

A black shantung silk single-sleeve, high necked blouse and skirt with a fuchsia-colored bubble hem.

Normando SS27

A sleek, black, off-the-shoulder gown with an asymmetric draped silhouette and a high side slit.

Karoline Vitto SS27

A black, asymmetric short-sleeved top with a cutout at the shoulder and a draped silhouette with a high-waisted, maxi skirt that gathers at the waist.

Suits

There was a prevalence of men's style suits on the runways, proving that Rio’s designers have leaned into the global shift toward ‘structured sophistication.’ They reimagined the classic men’s suit; focusing on quality and moving away from years of streetwear dominance.

Aluf SS27 by Ana Luisa Fernandes

A cream-colored button-down shirt with short sleeves and knotted cuff details, high-waisted, wide-leg pleated trousers with a belted waist, tie, vest and jacket, all in grey or red pinstripes.

Apartamento 03 SS27 by Luiz Claudio Silva

An oversized white blazer with a green pinstripe, gold-toned hardware and floral embellishments at the shoulder, with a matching vest and pants.

Helo Rocha SS27

A white pussy-bow blouse under a three-piece cream-colored suit: an oversized one-button blazer with structured shoulders, a vest with m.o.p. buttons, and wide-leg pleated trousers.

Lucas Leao SS27

An oversized beige blazer with structured, padded shoulders and notch lapels, layered over a light-colored turtleneck with matching wide-leg pleated trousers and a white ostrich feather fringed tutu.

Openweave Textures

Crochet, lattice knits and other open-weave textures are part of Rio’s fashion identity. Cover-ups that go from day to evening, reinforce a ‘coastal luxury’ mood of elevated craftsmanship.

Angela Brito SS27

A textured, straw-colored asymmetric mini dress with intricate open-weave and crochet details.

Apartamento 03 SS27 by Luiz Cláudio Silva

A white, structured sleeveless midi dress layered under an intricate, oversized netting overlay made of silver-toned fringe and metallic accents.

Blue Man SS27 by Sharon Azulay

A halter-style, asymmetric green dress with a side cutout in handcrafted crochet mesh with fringe and an orange patchworked section.

Patricia Viera SS27

A blue crochet net midi dress with gold floral appliqués, over a blue bodice and crochet knit navy and blue briefs.

One Shouldered Swimsuits

Brazil is well-known for its high-quality swimwear, most often associated with ‘barely-there bikinis’.However, this season, Rio designers proved they create maillots and two-pieces to suit all body types. One shouldered silhouettes looked especially fresh.

Karoline Vitto SS27

A one-shouldered candy pink swimsuit with a thin spaghetti strap and a side cut-out and silver metallic accents.

Blue Man SS27 by Sharon Azulay

The bikini features a one-shoulder top with a braided strap and low-rise bottoms with unique double-braided side cutouts in a blue and white batik-style print.

Lenny Niemeyer SS27

A black one shouldered swimsuit and a teardrop-shaped cutout on the chest. A mosaic embellishment accented the shoulder and the side.

Salinas SS27

A brown bikini with an asymmetric, one-shouldered top with a hand-embroidered bird motif crafted with crystals, and matching bottoms.

Opulent Maximalism

While the minimalist movement was significant, Rio also embraced opulent maximalism that celebrated Brazilian heritage. These highly decorated styles showed off the meticulous nature of artisanal craftsmanship.

Lenny Niemeyer SS27

A black turtleneck and skirt decorated with long, ombre-effect blue and black filaments that resemble feathers.

Isabel Capeto SS27

A white textured crop top with a yellow and white striped hem and large black bows at the sides and a voluminous, floor-length skirt with intricate embroidery and feathered, raffia-like material in shades of pink, yellow, and orange.

Lucas Leao SS27

A sleeveless midi-length dress of yellow and caramel "plumes" that are fabric cutouts created using 3D printing and laser cutting.

MISCI by Airon Martin

A sleeveless, floor-length gown with a fitted, open-knit bodice that transitions into a voluminous, feathery skirt.

Climate adaptation is a supply chain issue and cannot be solved by a single brand. This was one of the messages delivered by Azzurra Morelli, ceo of Pellemoda (Holding Morelli), an Italian luxury manufacturing company and benefit corporation committed to integrating sustainability into its industrial processes. She spoke during the Global fashion summit, an international forum dedicated to sustainability in the fashion system, which took place in Copenhagen from May five to seven.

In her speech, Azzurra Morelli focused on the need to address climate adaptation as a supply chain issue, not as the responsibility of a single brand or supplier. “Climate adaptation cannot be solved company by company: it must be addressed as a challenge for the entire value chain,” the manager reiterated. She stressed that the future of luxury depends on the ability of production chains to maintain industrial continuity in a global scenario characterised by growing climate, energy and geopolitical instability.

Morelli focuses on climate adaptation as a supply chain issue

According to Morelli, the concept of adaptation must evolve from a simple issue of regulatory compliance to a genuine industrial strategy for the future competitiveness of 'Made in Italy'. This approach is particularly relevant for the Italian fashion system, which is based on a highly specialised network of brands, manufacturers, production districts, artisans and technology companies. “Resilience is not built in brands alone, but in the factories, laboratories, industrial districts and companies that transform materials every day,” she explained.

Vice president of Confindustria Toscana Centro e Costa with responsibility for gender equality and corporate culture, and a representative of Confindustria Moda, Azzurra Morelli is now internationally recognised as the face of a new generation of entrepreneurs. She is capable of leading the responsible transformation of the fashion system by combining manufacturing tradition, innovation and sustainability.

Azzurra Morelli’s participation was part of the “Climate adaptation in luxury value chains” panel. The panel was a strategic discussion dedicated to new resilient production models, the climate challenges affecting luxury supply chains and concrete solutions to ensure continuity, innovation and sustainability in the fashion sector.

Particular attention was paid to the issue of water and the vulnerability of textile and tanning supply chains to the effects of climate change. Morelli highlighted how water, energy and raw materials are now strategic elements for ensuring production continuity and economic competitiveness. In this context, she reiterated the importance of collective resource governance, based on public-private partnerships, shared metrics and technological innovation.

Strategic priorities discussed

In outlining a practical roadmap for the future of luxury supply chains, Morelli identified four strategic priorities: harmonising standards between brands and suppliers; digitalisation and traceability through tools like the Digital Product Passport; developing public-private partnerships; and the concrete experimentation of circular and resilient models.

Moderated by Guy Morgan, director of sustainability for Chanel's fashion division, the panel included international figures such as Leonardo Volpi, general director of Volfoni Spa, and Tilly Leeman, corporate sustainability research lead at Global Water Intelligence.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereafter, YKK) has joined ZDHC (Zero Discharge of Hazardous Chemicals) as a Signatory Supplier as of May 2026.

ZDHC is a global organization centered on the textile and apparel industry, with the objective of eliminating hazardous chemicals from manufacturing processes and promoting the responsible management of chemicals. Its signatories include leading apparel brands, companies across the supply chain, and third-party verification and testing organizations worldwide*. Through collaboration across the entire value chain, ZDHC works to establish common standards for chemical management and to drive industry-wide efforts toward the elimination of hazardous chemicals.

YKK has long been strengthening chemical management in its products and manufacturing processes based on its own standards, which are aligned with ZDHC’s publicly available policies. As environmental impact reduction and occupational safety in manufacturing processes become increasingly important, YKK determined that enhancing the effectiveness of these initiatives requires greater transparency and the establishment of common, industry-wide standards. YKK therefore decided to join ZDHC.

Through its membership in ZDHC, YKK will contribute to advancing chemical management across the industry while supporting the realization of a sustainable society that balances reduced environmental impact with the assurance of occupational safety.

Comment from Mai Mizubayashi, Vice President, Sustainability Department, YKK Corporation

The YKK Philosophy of the Cycle of goodness® “No one prospers without rendering benefit to others,” is deeply connected to the concept of sustainability. Challenges related to chemicals used in manufacturing processes cannot be fundamentally addressed by the efforts of a single company alone. By joining ZDHC, we aim to further strengthen collaboration with our customers, suppliers, and verification bodies, and to steadily advance improvements in chemical management toward the realization of a circular economy.

JD Sports has said it is planning to close around 175 Hibbett stores over the next three years as part of an ongoing optimisation of its North American footprint.

Speaking during the company’s fourth-quarter earnings call, chief executive Régis Schultz said the retailer is focusing on closing smaller and lower-performing stores while prioritising larger locations with stronger sales potential.

Schultz said the stores being eyed are mainly lower-volume locations with a legacy sporting goods offer that no longer aligns with the group’s wider strategy. The strategy follows JD Sports’ acquisition of Hibbett in 2024 in a deal valued at 1.11 billion dollars.

The optimisation programme had already begun last year, when the company initiated 61 store closures and 44 new openings, ending the year 2025 with 982 Hibbett locations.

The update came as JD Sports reported a 11.7 percent increase in annual net sales to 12.7 billion pounds. However, profit before tax and adjusting items fell 7.7 percent to 852 million pounds. Apparel sales rose 5 percent, while footwear sales remained flat.

North America has officially overtaken the UK as the largest region for JD Sports, now accounting for 38 percent of total sales. Revenue has been supported by the annualisation of the Hibbett acquisition, a report stated

Looking ahead, the company said it expects muted market conditions in fiscal 2027 and forecast flat organic sales growth for the year.

After successful editions covering the EU and Americas, non-profit Global Fashion Agenda (GFA) has released its GFA Policy Matrix: Asia. The resource is designed to map sustainability and social matters related legislation in the fashion industry across the region and focuses on eight major manufacturing countries: Bangladesh, Cambodia, China, India, Indonesia, Pakistan, Turkey and Vietnam.

In view of policy and legislation information that can be dispersed, the new GFA PolicyMatrix: Asia aims to provide an accessible overview of policy developments in the area, with plans to expand its scope in the future to more countries.

“The launch of the GFA Policy Matrix Asia marks an important step in strengthening our strategic work across the region. As we continue implementing the Circular Fashion Partnerships on the ground, we gain critical insights into what enables circular systems to succeed. This resource complements that experience by mapping textile-related sustainability policies in key manufacturing regions of Asia, where legislation is evolving rapidly,” commented GFA CEO Federica Marchionni in a statement.

Structure of the GFA Policy Matrix Asia

The Policy Matrix is structured around the five key priorities outlined in the Fashion CEO Agenda: respectful and secure work environments, better wage systems, resource stewardship, smart material choices and circular systems. Under each priority, it is based on the status of the policy initiatives, with those enacted and in force mentioned first, followed by ongoing initiatives, those undergoing revisions, non-policy and upcoming initiatives.

Each entry for a specific policy effort is supported by a summary of its main objectives and main provisions. It also lists key policymakers and stakeholders (if available) to highlight the actors involved in its development as well as insights into the key players shaping the regulatory landscape. A clearly visible status box provides information on completion, updates and amendments at a glance.

A section with additional information lists relevant resources such as links to handbooks and other useful information, including stakeholder positions, media coverage and reports.

What do the five key priorities cover?

Respectful and secure work environments

Knowing where to look when handling a particular issue is half the work done. Thus, an overview of the main themes for each priority is helpful; some may overlap. The section on respectful and secure work environments, for example, touches on themes like due diligence, occupational hazards, working conditions, worker health and safety, sick pay, hazardous chemicals, discrimination, human rights violations, forced labour and slavery, human trafficking, grievance mechanisms, female workforces, gender equality, gender-based violence, financial inclusion, financial empowerment, job retention, job security, social protection, Covid-19 implications on workers, supply chain visibility, transparency and purchasing practices.

In this area, the matrix highlights a transition toward modernised labour codes and mandatory due diligence. Notable updates include India’s New Labour Code (2025), which consolidates 29 fragmented laws to improve worker protections, and Indonesia’s upcoming Mandatory Human Rights Due Diligence bill.

Better wage systems

The section on better wage systems includes themes like due diligence, fair wage systems, payment systems, minimum wage, living wage, transparent wage data, purchasing practices, wage setting, collective bargaining, unions, wage theft, grievance mechanisms, wage protection schemes, labour protection, social protection schemes, enforceable brand agreements, informal economy, sub-contractors, slavery and human trafficking.

Wage protections are being reinforced through statutory frameworks like Cambodia's 2018 Law on Minimum Wage, which set new rates for the garment sector effective January 2025, and India’s Code on Wages (2019).

Resource stewardship

The resource stewardship section covers themes like water, water availability, water stress, water scarcity, energy, fossil fuel consumption, carbon taxation, energy transition, renewable energy, science-based targets, chemical use, chemical pollution, hazardous chemicals – textile leather processing/ dying processes, biodiversity, natural resource use, virgin material extraction, land restoration, sustainable land management, regenerative agriculture, deforestation, land use, transparency, recapturing waste streams and traceability tools.

The section focuses on decoupling value creation from environmental degradation through stricter pollution controls and climate commitments. The report documents significant legislative actions such as Indonesia’s Regulation No. 12 (2025) on wastewater standards and Turkey’s first comprehensive Climate Law (2025), which establishes a national Emissions Trading System. Furthermore, several countries, including Bangladesh, Pakistan, and China, have submitted updated Nationally Determined Contributions (NDC 3.0) for 2025 to accelerate economy-wide decarbonisation.

Smart material choices

Smart material choices is also an important priority, covering themes like fibre growing and harvesting, mono-cropping, regenerative agriculture, natural fibres, biodegradable, organic productions, land use, soil health, chemical use, synthetic fibres, fossil fuel-based fibres, microfibres, microplastics, recycled materials, biomaterials, animal welfare and fur trade.

Thus, this priority emphasises responsible sourcing and consumer safety through technical standards and labelling. Recent developments include Turkey’s 2025 Labeling Requirements for animal-origin components and India’s upcoming mandatory labelling rules for apparel, which will require full fibre composition disclosure. These initiatives aim to prevent misleading claims and align regional production with global sustainability and transparency standards, such as digital product passports.

Circular systems

Last but not least, the section on circular systems touches on textile recycling, textile reuse, linear system, product lifecycle, durability, recyclability, mono materiality, circular systems, circular business models, product disassembly, post-consumer textiles, material streams, upcycling, overstock, deadstock, textile sorting, extended producer responsibility (epr), movement of waste, scaling technologies.

Regarding this section, the report tracks the shift from linear to closed-loop models where waste is eliminated and materials are continuously circulated. Key policy efforts include China’s Implementation Opinions on Accelerating the Recycling of Waste Textiles (2022) and Vietnam’s National Action Plan for Circular Economy (2025). These frameworks prioritise the integration of informal waste sectors into the formal economy and promote the “4Rs” (reduce, reuse, recycle, recover) to manage industrial textile scraps.

Finally, the matrix identifies several upcoming initiatives set to shape the industry through 2027 and beyond. These include India’s Tex-Eco Initiative and National Fibre Scheme (2026-2031), which focus on green markets and raw material self-reliance, as well as Cambodia’s first dedicated Occupational Safety and Health Law. By consolidating these disparate policy developments, the GFA provides a roadmap for stakeholders to navigate the rapid regulatory shifts occurring within Asia's influential textile and garment production hubs.

Conclusion

In view of a rise of textile-specific strategies in the region and targeted sustainability regulations as well as circular economy initiatives, the GFA Policy Matrix Asia is a useful tool that should help industry stakeholders navigate a rapidly evolving policy landscape, especially considering increasing recognition of textiles as a strategic sector for social and environmental transitions.

The fashion brand bugatti from Herford is bringing its Spring/Summer 2026 campaign theme “Capri” directly to the point of sale with around 35 pop-up areas. Under the guiding motto “Ho voglia di Capri,” selected retail partners are transformed into a summery brand world that combines a Mediterranean lifestyle with a high-quality, modern retail presentation.

The spaces are characterized by light materials, travertine looks, Mediterranean decorative elements such as lemons, and large-scale campaign visuals. In combination with a reduced product presentation in natural tones and shades of blue, this creates a curated shopping environment that goes beyond pure product display. Two concepts are used – bugatti Main and bugatti Gold – tailored to the respective collection lines.

The pop-up areas are being placed across Germany, Austria, Switzerland and Italy with strategically important partners such as Loeb Bern, Baltz Bochum, Braun Moers, La Rinascente Italia, as well as in selected top locations of Wöhrl and Peek & Cloppenburg Düsseldorf. The rollout began in mid-February and will continue as a roadshow through June. Additional POS activations, such as Limoncello bars, generate further attention and footfall.

Initial results show increased brand awareness, positive sales performance, and strong feedback from retail partners.

“With the pop-up areas, we consistently bring our campaign idea to the point of sale and create an emotional connection between brand, product, and customer. Our ambition is not only to offer merchandise to our retail partners, but a holistic experience that drives traffic and has a lasting impact,” adds Florian Wortmann, Chief Brand & Commercial Officer at bugatti.

At the same time, the pop-up concepts serve as inspiration for longterm space solutions and underline the importance of emotional brand staging in wholesale.

This month, Helsinki is preparing for a new edition of its annual Fashion in Helsinki event. With an official schedule running May 26 to 30, the occasion is overflowing with independent, young, and in some cases well-established talent from the region, underlining the city’s status as a growing fashion capital.

While many of these locations prioritise marketable, commercial trade, Finland has taken a starkly different path. Brands like Marimekko are among only a few to have punctuated the international market, and names like Rolf Ekroth and Latimmier may spark some recognition beyond the Nordic borders. Yet for Helsinki in Fashion, the focus on emerging names is intentional.

A design-centric industry

Compared to other countries in Scandinavia typically driven by commercially-successful fashion machines, Finland’s own industry is concentrated on design. According to Martta Louekari, the communications director of Juni Communication & Production, designers tend to create a vision for the brand before building a team around it, as opposed to relying on branding agencies and experienced founders. The system is comparable to that of Antwerp, following a model rooted in heritage craftsmanship and tailoring.

Akin to the Belgian fashion capital, the Finnish event has been built on the foundations of the local industry’s own singularities and hallmarks. Organisers have only strengthened this resolve as global interest becomes more wide-reaching. “Formerly, this country and its history was known for architecture and product design, but today, fashion is definitely one of the most interesting design principles coming from Finland,” Louekari told FashionUnited. “There are so many exciting things going on at the moment, and new brands are developing so fast.”

Commerciality in the context of individualised businesses

Commercial success isn’t one of the core values of Fashion in Helsinki, largely due to the individualised approaches of local creatives. Louekari notes that the strength of design talent in the region is palpable, with many graduates from Aalto University’s fashion department going on to work in large-scale luxury houses. Some of this talent occasionally returns to Finland, leveraging accumulated knowledge to launch their own labels. The number of such brands has accelerated in recent years, with Louekari stating that there are many that are less than five years old.

Retaining an identity so intrinsically ingrained in the avant garde is common, preserving a quality that runs deep in Finnish design history, evident in architecture and artisanal work as much as it is in fashion. “The question is how do you build a brand around these topics,” Louekari said. “We have some success stories of commercially recognised brands, but a shift we are seeing now is from young designers born directly into the internet era. The way they work and how the commercial side of a brand is built is new.”

Many of these designers opt to work solely in drops instead of seasonal collections, while sales may mainly be made through social media or their own channels, like an independent webstore. As a result, a new generation of vastly independent brands have emerged working in formats that fit them, rather than bending to the constraints of international systems; a far cry from the industries of traditional fashion regions.

Efforts to bolster global outreach can be seen in partnerships with other events like Copenhagen Fashion Week, for which Fashion in Helsinki has served as a knowledge partner. The Danish counterpart operates in a completely different commercial world to Finland, yet adheres to the same values surrounding emerging designer support and sustainability focus. Louekari said that while the collaboration has been very fruitful, connecting brands with buyers and other stakeholders, the two events have contrasting missions in terms of commerciality.

Marimekko as a staple of design heritage

Finland’s fashion heritage is also celebrated in the event, however. Ahead of Fashion in Helsinki’s launch, Marimekko Day, an occasion now over 30 years old, honours one of the country’s most iconic designer labels. This same remains true this year, when, on May 22, a series of fashion shows will be held at Esplanadi Park, ringing in the summer season.

For many in Finland, Marimekko is a brand they grew up with, associated with childhood memories and reflective of a historic design legacy. “It’s important in the sense of nostalgia,” Louekari said. “But it’s also a brand that has done well in communicating the Finnish lifestyle and our connection to nature into commercial products.”

The means in which Marimekko operates mirrors the intimacy of Finland’s design community, where everyone knows everyone. Louekari’s sister, for example, has worked with the brand for over 20 years as a pattern maker, while Vuokko Eskolin-Nurmesniemi, the founder of the Vuokko label, also previously worked under the brand, and is credited with creating the Jokapoika shirt, one of Marimekko’s foundational styles.

When hosting an event within this compact space, Louekari said ensuring a consistency in quality, design and concept when curating the schedule has been key. Maintaining a balance between global names like Marimekko and emerging voices from Aalto University or other platforms is a central challenge, and is carried out in varying presentation formats, from exhibitions to collective fashion shows.

Fashion in Helsinki 2026 schedule

Four of the events this year look to spotlight a selection of recently graduated or new designers. The KOE26 show on May 26 will showcase the collections of 10 graduated designers exploring varying themes. The following day, the Fashion in Helsinki Presentation at Seurasaari will platform 11 emerging Finnish designers, each bringing a fresh perspective to Nordic fashion. This is then followed by the Aalto Graduation Show, a runway and exhibition featuring the work of BA and MA fashion students. Finally, the Evol fashion show will debut a new concept to promote its platform for creative talent.

These sit alongside runway shows, installations and presentations by brands like Christian Chirayu by Oliver Ahlmark; material-driven label Studio Lamea; Sofia Ilmonen, a modular garment designer; Otsamo, a brand focused on modern tailoring and craftsmanship; Vain, a former Copenhagen Fashion Week participant; and Alex Luonto, a fashion artist who will be hosting a show accompanied by the exhibition ‘The Blueprint’.

Various exhibitions at partnered museums then complement the schedule, adding to the goal of spotlighting new talent. On the opening day, the Museum of Architecture and Design’s Craft Punk exhibition, curated by Fashion Community Helsinki and Juha Vehmaanperä, will turn into a fashion evening and guided tour. The Exhibition Generation 2026 at Amos Rex museum, meanwhile, is hosting a triennial of 50 young multimedia artists as well as a pop-up gallery store, ‘SS26 Space’.

“Fashion is so much about conceptual collections and treating fashion as an art form, it has always made sense to collaborate,” Louekari said, adding that many of these museums have remained collaborators and partners to Fashion in Helsinki for extended durations.

Third edition of Finnish Fashion Awards

To honour the industry as a whole, Helsinki in Fashion established the Finnish Fashion Awards, a relatively new ceremony that is coming into its third edition. The initiative aims to recognise players spanning all corners of the local community, from makeup artists to those overseeing sustainable implementation and retail. “We realised that on top of designers we should also acknowledge the value of work in other areas, and celebrate those as well,” Louekari said.

This year will see the introduction of the Designer of the Year category, an addition to the existing Talent Prize yet with a sharper focus on creative vision and craftsmanship. The awards will also collaborate with music event Flow Festival on the Style Icon of the Year award, recognising content creators. “It’s really nice to celebrate the industry together and invite everybody in one evening to see each other and network,” Louekari added.

Jake Hall, the founder of menswear brand Prévu Studio and former The Only Way is Essex (Towie) star, has passed away aged 35. According to media reports, Hall died in a holiday villa in Majorca after “a tragic accident” that led to fatal head injuries.

Hall first garnered acclaim when joining the Towie cast in 2015. The same year he launched Prévu Studio, which was later sold to JD Sports in 2021 and acquired by Frasers Group 2022.

The brand later fell into administration in 2023 and Hall went on to launch a new fashion brand, ‘By Jake Hall’. This label fell into liquidation in 2025. Hall had since moved beyond fashion into the art world, and had become known for his paintings inspired by Majorca, where he grew up.

Members of both the fashion industry and Towie have shared condolences and tributes in light of Hall’s passing.

Alongside pictures, PrettyLittleThing boss Umar Kamani shared on social media that he would miss his friend, adding: “I looked up to you so much for so many reasons, I wish you knew how much I loved you, I really hope I showed you my love clearly.”

Kamani ended the message stating: “I hope you look down and see the love and adoration the world had for you, something I know you wanted so much yet you always had it. Light up paradise my friend, I love you so much.”

Celebrity fashion stylist E.J. King responded to Hall’s latest Instagram post to share memories of his time with the late designer, stating: “You live life with no regrets and so much freedom. You captivated people everywhere you went, your light brought so much brightness to a room.”

Alessio Lillocci is the new creative director of menswear brand Canali. The label announced today that the appointment marks a further step in the brand's evolution, which has long been an international benchmark for contemporary men's tailoring.

Designer to oversee and strengthen brand identity

The designer's curriculum includes extensive experience with brands such as Brunello Cucinelli and Prada. He will be responsible for overseeing and strengthening the brand's identity, ensuring stylistic and qualitative consistency between the creative vision, product and Canali's DNA throughout the development of its collections. “His contribution will be central to consolidating and interpreting the brand's aesthetic codes in a modern way,” the management stressed.

“We are happy to welcome Alessio,” commented Stefano Canali, ceo and president of Canali. “His experience, sensitivity and deep knowledge of the menswear world will be important assets for the future of the brand. He will be supported by our style and product teams, with whom he will work to shape a new yet coherent vision of the Canali identity.”

Born in Umbria, the designer now lives between Milan and Perugia. Lillocci took his first steps into the fashion world in his mother's tailoring workshop, where he immediately developed a sensitivity for craftsmanship and garment construction. The designer began his career in product development and the style department, gaining over 20 years of experience with leading Italian menswear brands.

“Joining Canali is a great honour for me. It is a brand that fully represents the excellence and Italian sartorial mastery of menswear, where a culture of product, quality and attention to detail are concrete, daily pillars. Here, all the ingredients are in place to build an authentic and coherent creative path, capable of evolving while respecting the brand's DNA,” explained Lillocci.

Western footwear specialist Boot Barn has announced plans to double its store count to reach 1,200 locations across the US. The retailer confirmed the news alongside a new partnership with commerce solution provider, Aptos, which is set to deploy its point of sale platform, Aptos One, across Boot Barn’s existing store estate.

The feature will also be activated through a series of large-scale pop-ups, which will be hosted by Boot Barn at nationwide events, such as rodeos and music festivals. The mobile-first technology intends to streamline the retailer’s operations while also contributing to high-touch shopping experiences, a press release said.

In a statement, Julie Ting, SVP of IT at Boot Barn, said: “As a high-growth retailer, scalability was nonnegotiable in our search for a next-generation POS platform. We required a flexible solution capable of evolving alongside our business.

“By adopting Aptos One, we are reducing technical debt and lowering our total cost of ownership — all while empowering our teams to go above and beyond for customers, whether in our stores or at a major pop-up event."

Boot Barn currently operates over 500 stores across 49 US states, with the planned expansion set to be driven by the prioritisation of its technology infrastructure. The long-term growth strategy comes on the back of robust sales growth for the company, which for the Q3 ended December 27, 2025, saw net sales increase 16 percent.

At a time when the UK is increasingly focusing on creative education to meet the growing demand for skills in the cultural and creative industries, NABA, Nuova Accademia di Belle Arti, announces the appointment of Diego Mattiolo as School Director and Head of Education of its new London campus, with courses starting in the 2026/2027 Academic Year.

The UK continues to confirm its position as one of the world’s leading destinations for higher education, attracting 685,565 international students in the 2024/25 academic year, with London standing out as a global hub where international students make up around 24% of the total student population, and Asia remaining the largest source region . Academic institutions and industry alike are now called upon to develop educational models capable of bridging the gap between theoretical learning and applied skills. This move represents a strategic step in the evolution of NABA’s educational model, an extension of a well-established approach that enables the Academy to position itself within an ideal environment to nurture new talent and contribute to the development of contemporary creativity, in line with its purpose: Through Artistic Intelligence we nurture people to design a new tomorrow. Building on the experience and heritage of its Milan and Rome campuses, NABA brings to London a distinctive element: Italian know-how, globally recognised in the fields of design, fashion and visual arts. Not only as cultural heritage, but as a design-driven approach that integrates research, experimentation and making. This competitive advantage translates into an educational model that combines creative vision with practical application, particularly relevant in a market such as the UK, which is strongly focused on graduate employability. This excellence has been recently recognised by the QS World University Rankings® by Subject Art & Design 2026, where NABA entered the Top 50 for the first time, ranking 41st globally and confirming its position as the leading Italian Academy of Fine Arts in the field.

Diego Mattiolo, School Director and Head of Education at NABA London, commented: “At a time when the creative sector requires increasingly integrated skill sets, taking on this role represents a significant opportunity to contribute to the development of NABA’s London campus within one of the most dynamic and stimulating contexts for creativity and artistic professions. Our goal is to build an international learning environment, enriched by the care and craftsmanship typical of Italian expertise—an inclusive, project-driven approach. We position ourselves as a new, student-focused offering, capable of connecting students directly with the professional world, nurturing their talent and preparing them to face continuously evolving challenges.”

An international profile leading the London campus

With over ten years of international experience in academic management, Diego Mattiolo brings to NABA strong expertise in leading multicultural teams and developing dynamic, student-centred learning environments. In his previous role as School Director at EF International Language Campuses in London, he successfully led key growth initiatives, helping to maintain high teaching standards and deliver distinctive educational experiences. His appointment is a key factor in positioning the new London campus: his strong roots in the UK context, combined with a global vision of education, will be instrumental in enhancing NABA’s identity and effectively adapting its educational model to the needs of an international audience.

Learning by doing and qualified education in dialogue with industry

From September 2026, the campus will offer Bachelor’s degrees in Design, Fashion Design and Fashion Marketing Management. Small class sizes (lab practical classes up to 28 students, theoretical classes up to 40 students) enable direct and continuous interaction with faculty, supporting a highly personalised approach, a true “white-glove” education focused on individual development and the exploration of each student’s creative talent. Alongside theoretical learning, hands-on experience plays a central role in developing practical skills for real-world application through the Design Lab, Fashion Design Lab and Textile & Knitwear Lab.

These spaces allow students to engage with leading industry players, work on real briefs and gain insight into professional methodologies and dynamics. The academic offering is defined by an interdisciplinary, project-based approach, built around the “learning by doing” model. Within the London landscape, this also translates into an accessible and merit-driven education, with scholarships of up to £7,000 depending on the eligibility round and awarded to students who demonstrate commitment and talent. The scholarship is awarded as a tuition fee reduction for the first year of study. It will be continued into the second and third years of the programme, subject to the recipient meeting the required academic progression and performance criteria set by the Academy.

London and Here East: a strategic hub for education, innovation and creativity

NABA’s London campus is located within Here East, an innovation hub home to over 6,500 professionals, tech companies, startups and creative institutions. More than just a campus, Here East is an ecosystem where education, industry and research coexist. For students, this means direct access to an international network and tangible opportunities to engage with the professional world—transforming their academic journey into an immersive, real-world experience. Organisations based within the hub include Liverpool Media Academy, Studio Wayne McGregor, Sports Interactive and The Trampery on the Gantry.In particular, the proximity to the V&A East Storehouse will offer students the opportunity to access collections, interact with artworks and explore curatorial and research practices, strengthening the connection between education and the cultural sector.

New programmes and pathways for an international audience

Completing the London campus offering, the Academy introduces new programmes designed for those approaching creative education. The Integrated Foundation Programme will include a one-week experience at the Rome campus, giving students the opportunity to immerse themselves in the Italian cultural context through academic workshops, events and local activities, strengthening the link with Made in Italy while broadening their global perspective.

Studying at NABA also means joining an international community of over 6,000 students from more than 100 countries. From summer 2027, the London campus will expand its offer with Summer Courses – English Art Summer Camps: a month-long programme combining English language learning with artistic and design activities, integrating classroom lessons with hands-on experiences and urban exploration. Additional services include Career Service, visa support and counselling. Upon completion of the Bachelor’s programmes, students will be awarded a BA (Hons) Degree accredited by Regent’s University London.

Sustainability and innovation as educational drivers

NABA’s London campus has been designed as a highly innovative space, with a strong focus on digital technologies and sustainability, in line with the Academy’s manifesto. Sustainability is an integral part of both the learning experience and the educational model: through concrete projects, students are encouraged to engage with contemporary environmental challenges, developing a responsible, future-oriented mindset focused on circular economy principles, waste reduction and the responsible use of resources. This commitment is also reflected in campus operations, with over 50% of energy sourced from renewables, alongside energy-saving and recycling solutions, and in an inclusive approach that promotes accessibility, participation and the value of diversity.

Net sales for Safilo reached 272.9 million euros (320.5 million dollars) in the first quarter of 2026, an increase of 0.4 percent at constant exchange rates.

“The first quarter of 2026 confirmed the continuity and strength of our operational and financial performance. Our resilient business model is supported by a solid brand portfolio and effective commercial action. This has continued to drive positive sales trends in North America and major European markets,” commented Angelo Trocchia, chief executive officer of Safilo, in a statement.

European Q1 sales reach 130 million euros, up 1.4 percent

As previously mentioned, in the first three months, Safilo recorded net sales of 272.9 million euros, an increase of 0.4 percent at constant exchange rates. At current exchange rates, sales saw a decline of 4.5 percent, primarily due to the depreciation of the US dollar against the euro during the period.

First-quarter sales showed a trend broadly in line with the performance recorded in the fourth quarter of 2025. This confirms a significant continuity of business dynamics by geographical area. The performance was driven by the continued recovery in North America and the resilience of major European markets. Sales in Asia-Pacific and the Middle East, however, continued to be the main factors slowing overall growth.

In Europe, sales in the first quarter of 2026 reached 129.9 million euros, up 1.4 percent at constant exchange rates and 0.8 percent at current exchange rates. "The performance continued to benefit from positive demand in the group's main markets, with France, Italy, and Germany recording solid trends in both the independent opticians' channel and with key accounts," the management specified in the note.

The start of the year also saw "the encouraging launch of the new Victoria Beckham eyewear collection, which largely offset the impact of the deconsolidation of the lens business," the note continued.

In North America, sales in the first quarter of 2026 amounted to 109.7 million euros, an increase of 2.3 percent at constant exchange rates. At current exchange rates, revenues recorded a decline of 7.7 percent, due to the average depreciation of the dollar against the euro of approximately 11 percent.

In Asia-Pacific, sales in the first quarter of 2026 stood at 11.8 million euros, down 13.6 percent at constant exchange rates and 18.0 percent at current exchange rates. The performance was affected by a particularly challenging comparison base with the first quarter of the previous year. It was also impacted by the continuation of more cautious demand, as already observed in the fourth quarter of 2025. In China, the sales trend was influenced by the timing of the Chinese New Year. January was positive before the holidays, followed by a weak February and a partial recovery in March.

In the rest of the world, sales in the first quarter of 2026 stood at 21.5 million euros, down 6.3 percent at constant exchange rates and 9.1 percent at current exchange rates, in a complex market context. The performance was mainly penalised by weak trends in the Middle East. This followed the rapid escalation of geopolitical tensions in the area, which affected business activity from March onwards.

The US luxury resale platform The RealReal has reported a strong financial performance for the first quarter ended March 31, 2026. The company experienced double-digit growth across its primary metrics, driven by an expanding active buyer base and increased demand for authenticated second-hand fashion.

Gross merchandise value (GMV) for the first quarter reached 606 million dollars, representing an increase of 24 percent compared to the same period in 2025. Total revenue rose by 19 percent to 190 million dollars, supported by an 18 percent growth in consignment revenue and a 26 percent increase in direct revenue year-over-year.

Profitability and operational efficiency

The US-based marketplace saw its adjusted EBITDA improve by 9 million dollars compared to the first quarter of 2025, reaching 13.10 million dollars. This figure represents 6.90 percent of total revenue, a significant margin expansion from the 2.60 percent recorded in the prior year period.

Gross profit for the period was 141 million dollars, an increase of 21 million dollars over the previous year. However, gross margin saw a slight contraction of 50 percentage points to 74.50 percent. Net income for the quarter stood at 39 million dollars, compared to 62 million dollars in the same period in 2025.

The RealReal president and chief executive officer, Rati Levesque, noted that the results were a product of disciplined execution across three strategic pillars: unlocking supply, service obsession, and operational excellence. “The strength of our platform — our customer relationships, our data, our brand, and our scale — was on display in the first quarter,” Levesque stated.

Shifting buyer demographics and outlook for 2026

The platform reported that its trailing 12 months active buyer count rose 10 percent compared to the first quarter of 2025. Average order value (AOV) also saw a notable rise, climbing 15 percent to 646 dollars. Non-GAAP basic and diluted net loss attributable to common shareholders was 0.01 dollars per share, an improvement from the 0.08 dollars loss reported in the prior year.

Following the performance in the first quarter, the company has increased its full year guidance based on market conditions as of May 7, 2026. For the second quarter (Q2) of 2026, the company expects GMV to fall between 590 million dollars and 600 million dollars, with total revenue projected between 186 million dollars and 189 million dollars.

For the full year 2026, the group now forecasts GMV in the range of 2.42 billion dollars to 2.47 billion dollars. Total revenue for the year is anticipated to reach between 770 million dollars and 784 million dollars, while adjusted EBITDA is expected to land between 59 million dollars and 67 million dollars.

Primark has celebrated ten years in Italy. Its first store opened at Il Centro in Arese. On this occasion, the management announced a new investment of 22 million euros for the opening of three new stores. The company will create 300 new jobs as part of its continued expansion in Italy.

Primark expands store network in Italy

“This new phase of growth represents much more than a simple expansion of our retail network for us,” emphasised Luca Ciuffreda, director of Primark Italy, in a note. “With this ten-year celebration, we want to thank our colleagues and our customers who have been at the heart of our growth journey so far.”

The new stores will open in Cremona (Centro Commerciale Cremona Po’), Ancona (Grotte Center) and Gorizia (Tiare Shopping centre).

The chain currently operates 20 stores throughout Italy and employs over 5,000 people. The three new stores announced today, along with the five recently announced stores opening in Naples (two stores), Rome, Parma and Genoa, will bring Primark's network in Italy to a total of 28 stores in the coming years.

Primark arrived in Italy in 2016 with its first store at Il Centro in Arese, which opened with a team of 390 colleagues. Just eight months later, it opened its second store in Brescia.

First logistics hub in Italy

The company is also proceeding with the construction of its first logistics hub in Italy. Located in Alessandria, the hub will create more than 200 jobs and support the expanding network of stores nationwide. In collaboration with its partner Segri, the work is scheduled for completion by the end of November 2026, with operations starting in 2027.

Primark operates more than 485 stores in 19 countries across Europe, the US and the Middle East.

The US direct-to-consumer (D2C) eyewear brand Warby Parker has reported financial results for the first quarter ended March 31, 2026, surpassing its previous guidance despite a challenging operational environment. The company delivered revenue growth of 8.3 percent, reaching 242.40 million dollars, supported by a 4.80 percent increase in active customers.

On a trailing 12-month basis, the brand reached 2.69 million active customers. Furthermore, average revenue per customer rose by 6.90 percent to 331 dollars year-over-year (YoY). This growth was achieved alongside the opening of 14 net new stores during the period, bringing the total brick and mortar footprint to 337 locations.

Shift in profitability and margins

The company generated net income of 3.20 million dollars, representing a slight decrease of 0.30 million dollars compared to the previous year. Adjusted EBITDA reached 29.60 million dollars, while the adjusted EBITDA margin saw a decrease of 90 percentage points to 12.20 percent. Gross margin for the quarter was 54 percent, down from 56.30 percent in the prior year.

Warby Parker co-founder and co-CEO Neil Blumenthal noted that the team remained resilient while navigating severe weather and dynamic market conditions. Blumenthal highlighted the launch of Warby Parker Sport as a key driver of current momentum.

Co-founder and co-CEO Dave Gilboa announced a significant shift in the company’s product roadmap, focusing on the upcoming launch of intelligent eyewear. Gilboa stated that the company aims to introduce the first truly intelligent AI glasses designed for all-day wear, and is currently building the necessary infrastructure to support this category.

Annual outlook

For the full year 2026, Warby Parker chief financial officer Adrian Mitchell reaffirmed the company's financial guidance. The company expects net revenue to reach between 959 million and 976 million dollars, representing growth of 10 percent to 12 percent compared to full year 2025.

The company plans to open 50 new stores throughout the year. Mitchell expressed confidence in the current trajectory, noting that the first quarter results exceeded internal expectations and established a solid foundation for the remainder of the fiscal year.

Brazilian footwear giant Alpargatas recorded its highest nominal quarterly EBITDA in history during the first quarter of 2026, supported by strong volume growth in its flagship Havaianas brand. The company achieved an adjusted EBITDA of 299.50 million reais (60.55 million dollars), representing an expansion of 5.50 percentage points compared to the same period in 2025.

In the quarter, Havaianas net revenue totaled 1.2 billion reais, representing an increase of 12.5 percent, driven by growth across all operations. Havaianas Brazil, net revenue for the quarter reached 909.1 million reais, with growth of 13.2 percent, while international net revenue for the quarter reached 307.5 million reais, up 10.2 percent.

Havaianas Brazil expands market share

In its domestic market, Havaianas Brazil sold 54.90 million pairs, an increase of 7.60 percent compared to the first quarter of 2025. Net revenue for the Brazilian operation rose 13.20 percent to reach 909.10 million reais.

Gross margins in Brazil reached a record 49.50 percent for a first quarter, benefiting from manufacturing productivity and a more favourable product mix.

The Havaianas international operation showed signs of scale recovery, with sales volumes increasing by 14.80 percent to 6.60 million pairs. Performance was particularly strong in Europe, where volumes grew by 18 percent to 3.50 million pairs, marking the sixth consecutive quarter of positive trends for the region.

In the US, the company is transitioning to a new business model involving distributor intermediation. While this change resulted in a 3 percentage point decline in international gross margin to 61.80 percent, it significantly reduced operating expenses. US volumes rose 161.40 percent to 1.20 million pairs as the new partner built up inventory for the upcoming season.

Distributor markets in Asia Pacific, the Middle East, and Africa saw a 17.40 percent decline in volume, primarily due to geopolitical conflicts impacting sales in Israel. Despite these challenges, international EBITDA grew 88.60 percent to 62.20 million reais.

Rothy’s faces margin pressure from import tariffs

The US-based sustainable footwear brand Rothy’s, in which Alpargatas holds a 48.80 percent stake, reported a 7.80 percent increase in net sales to 46.80 million dollars. Growth was supported by the expansion of its retail network to 36 stores and higher penetration in business-to-business (B2B) channels.

However, Rothy’s recorded an EBITDA loss of 2.20 million dollars for the quarter. Profitability was hindered by a 5.40 percentage point decline in gross margin, largely due to the 4.80 percentage point impact of US import tariffs on products brought from China during 2025. Adverse weather conditions also forced temporary store closures, which limited the brand’s ability to dilute fixed costs.

Looking ahead, management intends to focus on sustainable expansion in Brazil and the gradual recovery of international volumes as the new US business model matures.

LVMH has generated 500 million euros in revenue from recycling and repairs. This represents ten million products repaired, refilled, or taken back in 2025 across all of the group's houses. It is the first quantified assessment of the gains achieved under its Corporate Social Responsibility (CSR) policy and Life 360 programme.

These figures were unveiled during a conference at the Cheval Blanc hotel, attended by Hélène Valade, environment development director at LVMH, and Christelle Capdupuy, sustainable development director at Louis Vuitton.

The 500 million euros from repairs and refills remain modest on a group-wide scale, accounting for 0.6 percent of turnover. However, the figure is symbolically significant. It materialises the transition to a circular model in monetary terms and aims to demonstrate that creative circularity and profitability are not mutually exclusive.

Additional revenue generated by repair, refill, and product take-back services

LVMH now precisely quantifies what it gains from repairing items rather than selling new ones. In 2025, repair, refill, and take-back services alone generated 500 million euros in additional revenue from ten million repaired products.

Specifically, the ten million products involved were either repaired in workshops, equipped with a refill system, or taken back by the houses. At Louis Vuitton, client advisors are trained to discuss repairs, and information on the origin of raw materials is available on the website or in-store.

Among the drivers of this profitable circularity, refills hold a unique position. The example of a cream with a patented design, shown during the conference, illustrates the strategy: the refillable object can become as aesthetically pleasing as a new product, if not more so.

“‘New’ does not mean ‘brand new’,” summarises Hélène Valade, environment development director at LVMH. “It could be a magnificent bag that has been completely reworked to give it a new look. I think there is a real need among some consumers for this new service.”

Finance's role in creative circularity: a gradual business model shift

Valade explains that finance has become a major ally. LVMH's 75 chief financial officers now work with sustainable development managers. At Céline, the cost of carbon is integrated into investment decisions, while at Dior, the transition plan is subject to financial planning. This convergence allows for the reporting of environmental data covering 99.9 percent of the group's financial scope.

LVMH is also learning to quantify the cost of inaction. Consuming less water and using less energy immediately results in savings. Furthermore, the group reports that 41 percent of the materials used in its products and packaging are now sourced from recycling.

Items made from deadstock or recycled materials do not sell for less, but sometimes sell faster. A cotton bag made from 3,000 linear metres of unused stock sold out as a limited edition, becoming 'highly desirable' due to its rarity. Similarly, the fashion show that recycled unsold items, realised by Kevin Germanier, proved that circularity could be a source of profitable creativity.

Creative circularity: a tool for loyalty and securing brand value

One benefit that LVMH has not yet converted into euros remains: consolidating trust in its brands. “This is the bet I have been making for 20 years,” states Valade. “Behind all of this, there are very strong societal shifts. If a company does not embrace them, it is not able to embody this responsibility at the product level.”

“Circularity thus becomes an ingredient for loyalty. A customer who has trust will return for another purchase. Repair is therefore not a cost centre, but a driver of brand preference,” concludes Christelle Capdupuy, sustainable development director at Louis Vuitton.

Canadian fashion house Aritzia has reported that its real estate expansion strategy served as a primary catalyst for its record-breaking financial performance in the fourth quarter and full fiscal year ended March 1, 2026. The company reached net revenue of 1.19 billion Canadian dollars (0.87 billion dollars) in the final quarter, up 36.2 percent, driven by a significant increase in retail square footage and high-performing new boutiques.

The group reported that comparable sales grew 27.7 percent, bolstered by a 37.8 percent revenue surge in the US, which now accounts for 63.7 percent of total net revenue. In Canada, net revenue increased 24.3 percent to 431.2 million Canadian dollars. Over the past 12 months, the Vancouver-based company grew its retail square footage in the mid-teens, opening 14 new boutiques and repositioning four existing locations. In the fourth quarter (Q4) alone, Aritzia launched five new boutiques in the US and completed one repositioning in Quebec.

Real estate yields rapid returns

The company’s investment in brick and mortar locations has demonstrated efficiency in capital recovery. In fiscal 2026, new boutiques opened in the US were tracking to achieve a payback period of less than one year. This performance surpasses the internal target of 12 to 18 months previously set by the group. During the fourth quarter, retail net revenue rose 35 percent to 698.2 million Canadian dollars, while digital net revenue increased 29.2 percent to 488.3 million Canadian dollars.

For the full year 2026, net revenue increased 35.2 percent to 3.70 billion Canadian dollars. Net income reached 381.8 million Canadian dollars, an 83.8 percent increase and adjusted EBITDA rose 59 percent to 646.2 million Canadian dollars.

“Our real estate strategy continues to yield exceptional results,” stated Jennifer Wong, chief executive officer. “Our boutiques enhance brand recognition, drive new client acquisition, and support digital growth, particularly in new markets.”

The synergy between physical and digital channels remains evident. Digital net revenue increased 29 percent during the quarter, following a 48 percent growth rate in the same period last year. Management maintains that physical boutiques act as a driver for the company’s digital presence, reinforcing its omnichannel approach.

Focus on United States market

Looking ahead to fiscal 2027, Aritzia has confirmed a robust pipeline of 12 to 13 new boutiques and four to five repositions. The expansion remains heavily weighted toward the US, with only one new boutique planned for Canada, located in Vancouver.

The company will enter four new markets this year, including Birmingham, Fort Worth, New Orleans and St. Louis. Additional openings are scheduled across the US in locations such as Atlanta, Dallas, Cleveland, Las Vegas, Carlsbad, and various sites in Florida and Texas.

Strategic growth levers and outlook

Aritzia has achieved its Fiscal 2027 revenue target of 3.5 to 3.8 billion Canadian dollars one year early, finishing fiscal 2026 with 3.70 billion dollars in net revenue. Wong identified geographic expansion as the most consistent and predictable driver of this growth. Aritzia expects continued momentum into the first quarter of fiscal 2027, following a positive response to its spring/summer 2026 (SS26) assortment. For the upcoming fiscal year, the company projects net revenue between 4.4 billion Canadian dollars and 4.6 billion Canadian dollars, representing anticipated growth of 19 percent to 24 percent.

The company continues to advance its three strategic growth levers: geographic expansion, digital growth and increased brand awareness. To support this trajectory, Aritzia is investing in infrastructure, including the construction of a new distribution centre in British Columbia.

“Our proven real estate expansion strategy continues to be our most consistent, predictable driver of growth,” Wong concluded. The company plans to unveil its next long term strategic roadmap in the autumn.

If there is one profession in fashion where emotional intelligence reigns supreme, this is it. Far from clichés, sales advisors embody the most vibrant and perhaps the most human face of this vast industry. To paint a multifaceted portrait of this hands-on profession, FashionUnited chose to speak with those who approach sales as a place for personal growth and specialised expertise.

Following our conversation with Léa Siboni, a sales advisor for the luxury brand The Row, and Mathilde Robard from the concept store Centre Commercial, we meet with Ruven Taieb, manager of the Rendel Records boutique in Paris.

How do you describe your profession?

When you work at Rendel, you are both an advisor to our clients – listening to them to offer solutions tailored to their desires and personality – and a brand ambassador. The founders rely on us to represent this family-run house and convey all its expertise.

What was your first sales position like?

My first sales job was in clothing. I was at fashion school and worked part-time as an advisor for a French suit brand.

Do you have fond memories of your first sales job interview?

Always a bit stressful! Nothing replaces on-the-job experience for training and development.

What is the best advice a manager or mentor gave you when you started?

My father once told me: “You already have the no. It’s the yes we’re going for.” It’s a phrase that still stays with me today: to dare, to move forward, and to stand out.

What gets you up in the morning?

The challenge. Every day is a new opportunity to do better with my team and to pass that energy on to the clients. A good atmosphere in the boutique is felt immediately.

What does the “joy of selling” look like?

Human contact. Exchanging ideas, discovering shared passions, creating a real connection. When a client feels comfortable, trusts us, and leaves satisfied, that’s when it all makes sense.

What is the most memorable sale you have ever closed?

During the Rendel Café pop-up, a client bought pairs for everyone in the boutique – like a round at the bar – even though he didn't know anyone. It amounted to more than 15 items. An incredible moment.

Any favourite clients?

Yes, of course. The regulars with whom we build a real relationship, but also simply the respectful clients. A hello and a goodbye count for a lot.

What technical skill have you honed the most over the years?

Product knowledge: manufacturing, materials, screws... It’s essential for building real credibility and establishing trust.

Qualities you are most proud of?

Interpersonal skills and organisation. Knowing how to build connections while keeping a structured boutique is key.

How do you train your eye?

Constantly observe: faces, complexions, styles. It is also important to stay connected to fashion and culture to always offer something that is right and current.

What is unexpected about the job?

People often think that selling is just about selling a product. In reality, it’s mostly about understanding a person. There is real work of listening, psychology, and precision behind every piece of advice. A good advisor doesn't sell, they create an experience and a lasting relationship.

This interview was conducted in writing.

Paris - Identifying an untapped niche and responding to it with a coherent offering is the trajectory illustrated by Baziszt, an independent French brand positioned in men's bohemian chic.

The success story of Baziszt began with a realisation: a segment in the menswear market was vacant, that of bohemian chic. “In that beach party, wedding, and anniversary scene, a bit Mykonos, a bit Saint-Tropez, there was nothing for men,” the brand's founding duo explained to FashionUnited. The duo consists of Zied Ben Amor, a former data engineer with a passion for cabinets of curiosities, and Jean-Marc Fellous, a former PR professional renowned in the Parisian fashion scene.

“During the Covid-19 crisis, we were in Australia, stuck in a hotel. There was household linen, all hand-embroidered with cross-stitch. We had the idea to create a brand for men.”

The first capsule of hand-embroidered shirts was launched in June 2022. From then on, everything moved very quickly with the addition of trousers, jackets, knitwear and shoes.

Besides a style rooted in craftsmanship, functional clothing and inspiration from nature such as insects, birds and dried flowers, the offering is transgenerational. “We have 25-year-old men who love our product, others who are 60, and women aged 40 to 50. The same shirt looks good on all three.”

“People who like our world rarely buy just one piece. We have an average basket of at least four or five items,” the duo added. As a result, Baziszt's turnover grew rapidly. In two and a half years, the brand's turnover went from 50,000 euros to 2.5 million euros.

Production: hand-embroidered shirts priced between 350 and 650 euros

Production is located entirely in India and Peru. Suppliers are spread across several major cities: Delhi, Bangalore, Jaipur and Mumbai. The same supplier provides the fabric and handles manufacturing.

In terms of materials, Baziszt focuses on responsible textiles: hemp, hand-woven fabrics and vegetable dyes.

The brand works exclusively with small family-run factories and cooperatives, often artisan collectives, particularly women. To ensure good working conditions, the two founders visit their partners twice a year. “We work with India for its expertise, not because it is cheap. It is expensive,” they asserted.

Distribution: nearly 120 points of sale, a boutique in Paris and pop-ups in resort destinations

Initially, Jean-Marc Fellous and Zied Ben Amor did not hesitate to approach the first buyers themselves. Today, their brand has a distribution network of over 100 multi-brand stores across Europe (France, Italy), Asia (South Korea, Japan, China) and the US. Outside of France and Portugal, the 247 showroom now handles their wholesale and distribution.

In October 2025, they opened their own boutique in Paris at 16 rue Saint-Roch, on the corner of rue Saint-Honoré. They plan to open a second one on Paris's Left Bank, in the Saint-Germain-des-Prés district, as well as pop-ups in destinations that match their aesthetic, such as Saint-Tropez, Mykonos and Ibiza.

Communication: from Joe Jonas to participation in the Boarding Pass Shanghai programme

The media trigger came when Joe Jonas, the Jonas Brothers singer with 13 million followers, became a customer. “When Joe Jonas was at the Hotel du Cap-Eden-Roc, he bought seven or eight pieces and sent us a private message on Instagram. That triggered something very powerful for the brand.”

In autumn 2025, a collaboration initiated by Sezane allowed them to broaden their expertise. “It was an opportunity to create womenswear, kidswear and lifestyle products. If it had been menswear, we wouldn't have done it.”

In China, they gained special exposure through their participation in “Boarding Pass”, an operation led by Promas in Shanghai in April 2026, aiming to help French brands emerge in the domestic market. “Chinese influencers posted on Red Book (the local fashion equivalent of Instagram), which brought us a huge amount of traffic.”

The trajectory of Baziszt demonstrates that a clear positioning, backed by a coherent product offering and targeted distribution, can still allow a young, independent brand to establish itself in a saturated fashion market.

Netherlands - Zulk B.V., the parent company of Dutch swimwear brands Cyell and Beachlife, is acquiring the brands of the German company Adolf Riedl Gmbh & Co. Kg. These will continue under the new company name Sunflair Gmbh. Marloes Heijmans, the CEO of both brands, announced the news on LinkedIn.

The acquisition includes four brands: Sunflair, Olympia, Wavebreaker and Sunmarin. “This strengthens our position in the European swimwear market and allows us to continue building a strong international future,” writes Heijmans. This is her first acquisition for the group.

A management change took place five years after the brands merged in 2013. Heijmans became managing director of Beach House B.V. and María Aracil became managing director of Cyell B.V. Heijmans has led both since 2020.

Cyell was founded in 1995 and has 124 points-of-sale, the majority of which are in the Benelux region. Beachlife was launched in 1972 and is sold in 150 locations, including one in Italy and one in Wales (Great Britain).

Adolf Riedl was founded in 1947 in the southern state of Bavaria. The company was declared insolvent in November. At that time, it employed around 120 people.

Superdry co-founder James Holder was sentenced to eight years in prison by a UK court on Thursday for raping a woman in May 2022.

Holder, 54, was found guilty last week by a jury at Gloucester Crown Court (south-west England) of raping the woman when he accompanied her to her flat after meeting her in a bar.

He had pleaded not guilty and attended Thursday's hearing from the prison where he is being held.

Announcing the sentence, the judge stated that Holder had demonstrated a “sense of omnipotence”, believing he “could do whatever he wanted” in “disregard” of the victim's feelings.

Holder founded the Superdry brand with Julian Dunkerton in 2003, which they developed in the UK and then internationally. He was notably in charge of creative direction until he left the group in 2016.

Harvey Nichols has appointed Shaun Donnelly as buying director for non-apparel and menswear. Donnelly confirmed the news in a post on LinkedIn, where he said he was “happy to share” he was starting the new role and looked forward to “driving the next phase of growth across menswear, footwear and accessories with an incredible team”.

Donnelly steps into the position after serving as head of footwear and accessories at Harvey Nichols for the past year. Prior to joining the retailer, he worked as a freelance consultant specialising in footwear, product and commercial strategy for brands and retailers.

He also previously spent more than 10 years at Kurt Geiger, holding senior buying roles including head of multi-brand buying for department store concessions and head of men’s buying and design.

The move comes as luxury retailers continue to strengthen menswear and accessories categories amid growing consumer demand for premium fashion and lifestyle products. Donnelly’s experience across buying, design and brand strategy is expected to support Harvey Nichols’ continued development across its menswear and non-apparel offer.

US luxury group Tapestry, the parent company of Coach and Kate Spade New York, reported a significant increase in revenue and earnings for the fiscal third quarter ended March 28, 2026. The group achieved double-digit growth across its core brands, bolstered by a 21 percent increase in net sales to 1.92 billion dollars.

The performance has led the group to revise its annual guidance upwards, now expecting revenue in the area of 7.95 billion dollars. This trajectory reflects the impact of the Amplify strategy, which focuses on digital acceleration and consumer engagement.

Global demand fuels leathergoods performance

The fiscal third quarter saw Tapestry acquire over 2.4 million new customers globally. Notably, Gen Z consumers represented over 35 percent of this new cohort. This demographic shift was accompanied by a robust performance in the leathergoods category, particularly at Coach. Handbag units for the brand rose more than 20 percent, while average unit retail (AUR) increased at a low-double-digit rate.

Geographic expansion remained a key driver of the quarter’s results. On a pro forma constant currency basis, North America saw gains of 20 percent, while Europe increased by 21 percent. The Asia-Pacific (APAC) region recorded a 30 percent rise, with Greater China specifically growing by 55 percent.

Direct-to-consumer and digital acceleration

Total direct-to-consumer (D2C) revenue increased by 23 percent on a pro forma constant currency basis. This growth was spearheaded by a 25 percent rise in digital sales and a 20 percent increase in global brick and mortar sales.

Tapestry chief executive officer, Joanne Crevoiserat, attributed the results to disciplined execution. “Our third quarter outperformance reflects the compounding benefits of our Amplify strategy, as we bring creativity, craftsmanship, and value to more consumers around the world,” Crevoiserat stated.

Financial results and margin expansion

Gross profit reached 1.48 billion dollars with a gross margin of 76.9 percent, an 80 basis point increase compared to the previous year. Operating income on a non-GAAP basis was 430 million dollars, resulting in an operating margin of 22.4 percent. This represents a significant expansion from the 17.5 percent margin reported in the prior year.

Net income for the period was 344 million dollars, with earnings per diluted share (EPS) of 1.65 dollars on a GAAP basis. On a year-over-year (YoY) basis, this is a substantial increase from the 203 million dollars in net income recorded in the same period last year.

Shareholder returns and updated guidance

Based on current momentum, Tapestry expects to return 1.6 billion dollars to shareholders in fiscal 2026 through dividends and share repurchases. The board of directors declared a quarterly cash dividend of 0.40 dollars per common share, payable on June 22, 2026. The group also expects to buy back approximately 1.3 billion dollars in common stock over the fiscal year.

For the full fiscal year 2026, Tapestry anticipates an operating margin of approximately 23 percent, which is an expansion of roughly 300 basis points YoY. The group projects EPS to be in the area of 6.95 dollars, representing growth of over 35 percent compared to the previous fiscal year.

Contemporary womenswear label Atelier Ninety Five has launched exclusively at Selfridges, marking the brand’s first retail partnership and physical store presence.

The launch introduces the brand to Selfridges’ international luxury customer base with a curated edit from its SS26 collection, including lace co-ords, draped jersey pieces, relaxed tailoring, satin tanks and linen trousers, reflecting the label’s “Rework. Restyle. Rewear.” positioning.

Founder Melissa Bell described the partnership as a major milestone for the business, adding: “[Selfridges has] always been a place I’ve admired - from shopping there with my first pay cheque to now seeing the brand on the floor. The idea of someone walking out with Atelier Ninety Five in that iconic yellow bag genuinely means everything.”

The company said it intentionally kept the collection focused on key hero products to maintain brand identity and creative control as it expands into wholesale.

The Selfridges launch follows strong growth for the label, with sales up 52 percent year-on-year and website sessions increasing 238 percent. Orders rose 49 percent, while returning customers were up 66 percent. The brand also reported strong early demand for new products, with its suede bomber jacket and oversized trench coat both selling out on launch day.

US apparel group Kontoor Brands Inc. has started the new 2026 financial year with surprisingly strong results. Alongside the latest figures, the group also announced on Thursday its plan to separate from the Lee brand.

Several parties have already expressed interest in the denim label as part of the sales process already initiated, according to a statement. A binding agreement for the sale of the brand is expected to be concluded within the current year.

CEO and chairman Scott Baxter explained the reasons for the decision. “Our decision to divest Lee allows us to focus more sharply on opportunities with the greatest potential to maximise shareholder returns by aligning Kontoor's brand portfolio towards a higher growth profile,” he explained in a statement.

Wrangler and Helly Hansen brands exceed expectations

In light of these plans, Lee has already been classified as a discontinued operation in the current quarterly report. Revenue from continuing operations amounted to 613.3 million US dollars for the period from January to March. This represented an increase of 45 percent compared to the same period last year. Adjusted for currency fluctuations, revenue grew by 39 percent.

Outdoor specialist Helly Hansen, acquired last year, was a significant contributor to the strong growth, contributing 165.5 million US dollars to group revenue. Revenue for the core brand Wrangler grew by four percent (plus 2 percent on a currency-neutral basis) to 435.8 million US dollars.

Group more than doubles its quarterly profit

The group also made significant progress in its earnings. Adjusted operating profit from continuing operations increased by 60 percent compared to the same period last year, reaching 86.8 million US dollars. Net profit from continuing operations jumped from 10.2 million to 61.0 million US dollars.

The reported net profit, which includes earnings contributions from Lee, amounted to 92.4 million US dollars. This was more than double the figure from the prior-year quarter, when it stood at 42.9 million US dollars.

Management updates its annual forecast

In light of the plans to sell Lee and the unexpectedly strong performance of the remaining brands, management has updated its annual forecast. It now expects revenue from continuing operations to be between 2.66 and 2.70 billion US dollars. Adjusted earnings per share from continuing operations is projected to reach 5.15 to 5.25 US dollars.

The group also announced a new share buyback programme. This programme authorises the purchase of its own shares up to a total value of 750 million US dollars.

Dior is celebrating the arrival of its autumn 2026 collection in stores with a gigantic cake. The French fashion house has transformed a pop-up space in front of the Deji Plaza in Nanjing, China, into a visual feast.

The pop-up is designed in the shape of a huge, sliced cake topped with an oversized strawberry and cherries, Dior announced. The interior also embraces the patisserie concept. Glass and ceramic cakes adorn the shelves, showcasing the collection. Enhanced with stucco and moiré, the decor is reminiscent of the Palace of Versailles in Paris.

The sugary-sweet pop-up is open until the end of June. In addition to this spectacular retail experience, Dior is also integrating its cake theme into its flagships. For example, the installations adorn the windows and spaces of the Milan boutiques on Corso Venezia and in the Galleria Vittorio Emanuele II.

Speaking at the Global Fashion Summit in May 2026, Pamela Anderson, ambassador for jewellery brand Pandora, spoke out in favour of animals. She believes that activism, even when romanticised, is a personal choice. It is also a concrete struggle that has already succeeded in creating laws and making a difference.

Responding to a question from Emily Chan of British Vogue about animal protection in fashion, Anderson explained: “My father was a hunter. He always told me, ‘Never go in the shed’. So of course, that was the first thing I wanted to do. My friends and I opened the door. I discovered a dead deer, hanging upside down, headless, its blood slowly dripping into a bucket. The moment I understood what I was seeing, everything changed. It was over.

“I remember going to my father, my little pigtails sticking up, and making him promise he would never do it again. He kept his word. He never hunted again. That was, in truth, my very first act of activism.”

Anderson added that she has always felt a closeness to animals. She sometimes trusted them more than humans. When she gained a media platform through her role in the series Baywatch, she realised that these vulnerable beings had no voice and offered them hers.

Pamela Anderson defines herself as a romantic activist

“It has been wonderful to partner with different NGOs and associations doing good work, to speak out all over the world, and to help get laws passed where there were none,” the actress added. “We can also make these choices privately. Nowadays, when you go to a restaurant, there is always a vegan option. We no longer need to raise our hands to say, ‘Excuse me, I need this or that’. These options are now part of our culture.”

Once seen as a fun game, activism has become her way of “leaving an impact on this world”. Anderson is now a global ambassador for Pandora, not only for its lab-grown diamonds – a showcase for the brand's sustainability commitments – but also for her deep-seated convictions. By choosing to partner with such a sincere activist, Pandora is indirectly committing to animal protection, a cause the actress has always championed.

American denim and lifestyle brand Levi's has unveiled a new collaboration with The Football Association and the England National Team ahead of this summer’s FIFA World Cup.

The Levi’s England Collection is part of the brand’s Football Federation partnerships, which also include Mexico, the USA, and France, as part of the Levi’s ongoing strategy to bring together heritage design and contemporary fan expression ahead of the football World Cup, taking place in the US, Canada, and Mexico.

The five-piece capsule collection is inspired by the “passion and ritual of English football fandom,” explains the brand, and is rooted in the red and white of the England National Team, featuring the team’s ‘Three Lions’ symbol.

The collection includes Levi’s Type II Trucker Jacket, featuring a bold back patch inspired by federation branding, and the Type III Jacket with the crest positioned front and centre. These sit alongside Red 478 Baggy Shorts, a bandana and a red tote, which have all been designed to be worn together or styled individually.

Leo Gamboa, vice president of global collaborations at Levi’s, said in a statement: “With England, we wanted every detail of the collection and campaign to feel true to the culture.

“Partnering with such an iconic football federation was a natural fit, and featuring 194 brought an authentic, London-rooted perspective. We can’t wait to see fans wear these pieces throughout the tournament this summer.”

The Levi’s England Collection is available at select Levi’s retail stores and online at levi.com. Prices range from 27 to 170 pounds / 30 to 190 US dollars.

The global football merchandise market is projected to see significant growth between 2025 and 2035, driven by major sportswear companies including Adidas, Nike and Puma. The expansion is being fuelled by digital retail innovation, global fan engagement and the increasing commercialisation of sports culture.

While the report focuses on market performance, it also highlights important implications for fashion and retail education, particularly in how future professionals are trained for a rapidly evolving industry.

Blurring lines between fashion, sport and technology

Football merchandise has evolved beyond traditional kits and fanwear into a broader lifestyle category, combining performance design, streetwear aesthetics and digital commerce strategies. This shift is reshaping the skills required of designers and merchandisers, who must now understand branding, consumer behaviour and omnichannel retail.

For fashion education, this means greater emphasis on interdisciplinary learning—where students are trained not only in design, but also in areas such as data-driven marketing, e-commerce platforms and global supply chains.

Digital retail reshaping curricula

The growth of online retail and direct-to-consumer strategies is a key driver of the market. As brands expand their digital ecosystems, future designers and fashion business graduates are expected to be fluent in digital tools, virtual merchandising and customer experience design.

Educational institutions are increasingly integrating these elements into curricula, reflecting the need for graduates who can operate across both physical and digital retail environments.

Industry partnerships and career pathways

With major brands leading innovation in football merchandise, there is growing potential for collaboration between industry and education. Internships, live projects and sponsored programmes are becoming essential in preparing students for careers that sit at the intersection of fashion, sport and technology.

The sector’s growth also opens new career pathways—not only in design, but in product development, licensing, sustainability and global brand management.

Preparing future talent

As the football merchandise market continues to expand globally, it underscores a broader transformation within fashion education. Training future designers now requires a more holistic approach—one that combines creativity with commercial awareness, digital expertise and an understanding of global fan-driven markets.

Luxury platform Farfetch has introduced a new premium service designed to elevate the customer experience through immersive brand pages and faster delivery. ‘Farfetch First’ is initially launching across Europe, including in the UK, Germany, France, Italy, and Switzerland, with a phased global rollout due to follow.

The service offers users a free upgrade to next-day delivery and an end-to-end customer experience that looks to elevate the proposition for brand partners joining the programme. In a bid to further underline reliability and speed of service, thousands of luxury items are expected to become available under the Farfetch First banner.

Its launch is complemented by a brand campaign, ‘The Wait is Over’, which is deployed across a series of stills and videos. The creative is overseen by Matthew Whitehouse, head of editorial content and creative at Farfetch, who sought to showcase everyday moments in a playful way.

Speaking on the service, Stephen Eggleston, chief commercial officer at Farfetch, said: “Through Farfetch First, we provide luxury brands with an elevated digital presence, enhancing their unique storytelling and meeting the expectations of global customers, who view time as an essential dimension of a truly unique shopping experience. Farfetch First is set to become the benchmark for reliability and impeccable service in luxury.”

The introduction of the new service comes as the e-tailer’s owner, Coupang, continues to explore ways to improve performance. In 2023, Farfetch was facing mounting financial concerns, with its UK business alone reporting 805.5 million pounds in annual losses. This then narrowed into 2024, when the company’s loss after tax sat at 471.4 million pounds.

Turnaround efforts appear to be paying off. In the fourth quarter of 2025, Coupang reported Farfetch’s first quarterly positive year-over-year revenue growth since acquiring the luxury platform. Coupang CEO and chairman, Bom Kim, said at the time that there was a “real opportunity to create value for luxury customers around the world by combining Farfetch’s vast assortment with a white glove shipping and returns experience”.

In a decisive blow to the European “grey market,” the European Anti-Fraud Office (OLAF) confirmed on 6th May 2026 the successful conclusion of a coordinated strike against a sophisticated smuggling network. Working in tandem with Polish and Spanish customs officials, OLAF investigators intercepted a rail corridor originating in China that was being used to funnel illicit goods into the heart of Europe. The operation culminated in the seizure of three massive shipping containers in Poland, containing approximately 70,000 kilograms of textiles that were never intended for legitimate retail shelves.

“Diversion schemes that abuse transit procedures undermine fair competition, deprive public budgets of revenue and put honest businesses at a disadvantage. This operation shows the importance of close cooperation between OLAF and national customs authorities to protect the EU market and ensure that transit procedures and customs rules are respected,” commented OLAF’s director-general Petr Klement in a statement.

“Textile Diversion Scheme” exploits “transit procedure”

How did the scheme work? The criminal network utilised a strategic loophole known as the T1 Transit Procedure, which allows non-EU goods to travel across the continent duty-free, provided they are destined for a final market outside the European Union. In this specific scheme, the cargo was officially declared for export to Africa via Spanish ports. However, investigators discovered that while the digital tracking systems falsely confirmed the arrival of the goods in Spain to close the transit record, the physical containers were being illegally diverted and unloaded in Europe. This manoeuvre allowed the smugglers to bypass the high customs duties designed to protect domestic manufacturers.

Broader context: larger crackdown in Poland

The recent seizure is part of an intensifying offensive against trade fraud at the EU’s eastern borders. It follows a landmark OLAF report from late April 2026, which exposed a massive VAT and customs ring operating on the Polish-Belarusian border. That wider investigation, which led to the detention of nine suspects, revealed a systemic abuse of “Customs Procedure 42”—a mechanism for deferring taxes that fraudsters exploited to the tune of 118 million euros in evaded duties and 79 million euros in lost VAT. These combined efforts signal a zero-tolerance approach to the shell companies and falsified documents that have long plagued the sector.

Key takeaway

For the global garment industry, these enforcement actions represent a significant shift toward data-driven policing. OLAF’s ability to identify suspicious trade patterns through real-time analytics means that “transit” shipments are now under unprecedented scrutiny.

While this crackdown levels the playing field for honest businesses by removing low-cost, smuggled competition, it also serves as a warning for legitimate brands: supply chain transparency is no longer just a sustainability goal, but a legal necessity to avoid the delays and disruptions of an increasingly vigilant European customs net.

Lectra, a specialist in technological solutions for the fashion industry, unveiled its financial results for the first quarter of 2026 at the end of April. The company reported a decline in revenue amidst an unstable global macroeconomic climate. This was partially offset by the strength of its software subscriptions.

Revenue impacted by trade tensions

During the first quarter of 2026, Lectra recorded revenue of 113.2 million euros (133.2 million dollars). This marks a 16 percent decrease on a reported basis compared to the same period last year. Recurring EBITDA amounted to 12.1 million euros, representing a margin of 10.6 percent. Net income stood at 0.5 million euros.

This financial contraction is mainly due to a 44 percent decline in non-recurring revenue, directly linked to lower sales of physical equipment. The company highlighted that equipment orders fell by 25 percent on a reported basis compared to the first quarter of 2025. As the company noted in its report, this period served as a particularly high basis for comparison for the fashion sector and the Asia-Pacific region. This was because it preceded the announcement of new customs duties in the US.

Growth supported by recurring revenue

Despite the slowdown in hardware sales, Lectra's business model shows structural stability thanks to the growing strength of its services. Recurring revenue increased by 1 percent, driven in particular by strong 14 percent growth in SaaS software subscriptions. Annual Recurring Revenue (ARR) reached 100.6 million euros on March 31, 2026, representing a 3 percent increase on a like-for-like basis.

Lectra anticipates a significant rebound in the second quarter, supported by an equipment order backlog valued at 24.6 million euros. The company also reiterated the objectives of its 2026-2028 strategic roadmap, aiming for an average annual growth in SaaS ARR of approximately 15 percent. Finally, at the combined general meeting scheduled for the end of April 2026, the board of directors will propose a dividend of 0.35 euros per share.

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

Capezio, a globally renowned dance footwear, apparel and accessories brand with over 140 years of heritage, has chosen Bleckmann, specialist in supply chain management for fashion and lifestyle brands, to support its expansion across European markets. The brand selected Bleckmann as its third-party logistics (3PL) provider for warehousing and distribution due to its extensive carrier network, dedicated category expertise and scalable capacity – providing the strategic agility for future growth.

Following an onboarding process completed in just two months, including full IT and operational integration, Capezio is now live at Bleckmann’s strategically located distribution centre in Venlo, the Netherlands. This marks a significant milestone in the brand’s European ambitions and its commitment to delivering exceptional value and customer experience to dancers around the world.

Localised fulfilment to support streamlined growth

After more than 30 years of fulfilling orders to EU markets from the UK, Capezio was looking for a specialised solution that could deliver a faster, more consistent fulfilment experience. Centralising and consolidating its European logistics operations at Bleckmann’s facility will enable the brand to deliver customer-facing and operational improvements. “We’re not only closer to our customers, but we can also provide a more tailored service through Bleckmann’s ‘Local Heroes’ last-mile concept”, explained Arron Delamare, Director of Operations at Capezio. “This gives us access to the best-fit carrier per region with one contract and point of contact, so we can offer the best service levels across the board.”

Operational integration is central to the value that Bleckmann’s solution provides, enabling Capezio to deliver on its promises to customers while realising significant efficiency benefits. Bringing warehousing and transportation under one roof reduces the number of touchpoints across the supply chain, enabling faster, more accurate information flow into Capezio’s own systems. This mitigates the risk of errors from managing multiple partners and dependencies. “The Capezio partnership demonstrates the simplicity gained by working with one partner”, said Maxim Sion, Sales Manager at Bleckmann. “It unlocks a better experience for customers and frees the team to focus on growth.”

Operational alignment for efficiency and scale

Critical to the effectiveness of the partnership was a strong alignment between Bleckmann’s established fashion and lifestyle expertise and Capezio’s operational needs. With a catalogue of around 40,000 SKUs, the brand operates with considerable product complexity, and finding a partner equipped to handle that from day one was a priority. “Because of Bleckmann’s unparalleled expertise, their systems and ways of working already mirrored what we needed”, added Delamare. “Whether it’s managing complex individual order combinations or efficiently dealing with waving for seasonal- specific stock and peak demand, we were able to hit the ground running with all the tools required.”

A partnership built for ambitious growth

Importantly, Bleckmann’s flexible warehousing capacity and agile fulfilment network provide the scalability required to meet Capezio’s ambitious European growth trajectory. And for Delamare, it is not only the operational capabilities that have impressed. “Visiting multiple Bleckmann sites, what struck me was the consistency – not just in terms of standards, processes and data, but also in the attitude and energy of the team at every level”, he said. “That tells you a lot about a business, and it’s reflected in the strategic support we’ve received. The partnership unlocks a clear path to achieving economies of scale and impactful process improvements – benefits we can pass on to our customers.”

Outerwear, apparel, and footwear brand Canada Goose has expanded its long-standing Resource Centre Programme, which delivers free fabric donations and materials to remote communities, to Alaska, marking the first international location.

The initiative, which first launched in 2009, works directly with remote communities throughout Northern Canada, providing Indigenous sewers access to fabrics and materials to support craftsmanship and cultural preservation.

For its first activation outside its home country, Canada Goose partnered with Ryan Air to bring 14,000 pounds of fabric and materials, and hands-on support to communities across Kotzebue and Nome in Alaska.

The multi-day activation, designed to bring together community members from across the region, included a live sewing demonstration led by Inupiaq seamstress Precious Gray, focused on foundational garment construction techniques, as well as offering hands-on opportunities to learn the full garment creation process of creating a children’s parka, from pattern cutting and design to sewing, assembly and completion.

Carrie Baker, president of Canada Goose, said in a statement: “For more than 15 years, the Resource Centre Programme has been rooted in partnership with Northern and Indigenous communities, to help preserve traditional craftsmanship through access to materials.

“The programme exists so tradition can move forward, and this expansion reflects our ongoing commitment to community-led impact, supporting culture, enabling creativity, and ensuring these practices continue for generations to come.”

To date, the initiative has supplied more than two million metres of fabric, as well as materials such as buttons, zippers and trims, to over a dozen communities across Northern Canada, including Iqaluit, Kinngait, Pond Inlet and Cambridge Bay, reaching tens of thousands of community members.

Amsterdam-based fashion label Martan has been named the grand winner of the Visa Young Creators: Recycle the Runway programme by Global Fashion Agenda (GFA) and Visa, according to a press release. GFA is a non-profit organisation focused on making the fashion industry more sustainable. The announcement was made during the Global Fashion Summit: Copenhagen Edition 2026 in Copenhagen.

The fashion brand was selected from a group of emerging designers working with circular business models within the fashion industry. Martan focuses on reusing discarded hotel linen for high-end ready-to-wear collections.

Focus on circular production

According to the press release, Martan's production process includes sorting, dyeing and customising existing textiles. The organisers stated that the brand was selected based on its combination of design quality, a circular business model and the potential to scale the concept further.

As the winner, Martan will receive 20,000 euros for further investment in the company, supplemented by coaching, guidance and international industry visibility. The label will also participate in a co-creation initiative by GFA, along with the four other prize winners. Within this programme, Martan will be paired with Re&Up, a company specialising in recycling textile fibres, to further develop circular design solutions from concept to final product.

The Recycle the Runway programme supports creative entrepreneurs active in circular fashion concepts such as resale; repair; rental; refilling; return systems and redistribution. The initiative aims to help develop circular ideas into scalable business models.

A professional jury, consisting of representatives from GFA, Visa Europe, Vogue, the British Fashion Council and Ebay, selected 15 winners. Five participants received a Prize Winner title and were invited to attend the Global Fashion Summit. Martan was ultimately chosen as the main winner due to its combination of design quality, its circular business model and its potential for further scaling.

Gap Inc. has appointed a former advisor of Old Navy to the role of chief customer officer of the brand. Michael Francis will take up the executive position alongside the role of head of marketing shared services for the group.

Francis has previously served as president of JCPenney, chief marketing officer at Target, and chief global brand officer at Dreamworks Animation. He has also advised organisations such as Walmart on brand strategy and business transformation.

At Old Navy, where he will report to brand CEO Haio Barbeito, Francis has been tasked with leading end-to-end customer strategy, strengthening brand storytelling, customer engagement, and customer experience.

In a statement, Barbeito said Old Navy had “real momentum” and that Francis brought a “rare combination of strategic vision, creative instinct and commercial rigor” to the role.

He added: “As we continue to evolve the brand, Michael will help sharpen how we show up for customers and strengthen every connection they have with Old Navy.”

As head of marketing shared services for Gap, Francis will also have responsibility for media strategy and execution, with the goal of advancing integrated marketing capabilities across the group’s brands for the next phase of growth.

Francis said he was honoured to join Old Navy “at such an exciting moment”, adding that there was an “enormous opportunity ahead”.

He continued: “I’m excited to partner with Haio and the team to build on that momentum, elevate the customer experience and tell stories that are distinctive, modern and unmistakably Old Navy.”

To strengthen its market presence and accelerate growth across the EMEA region, the Nidecker Group today announced a strategic partnership that appoints OneTurn as the lead distribution and regional operations partner for the skateboarding brands etnies, éS and Emerica.

Under the partnership, OneTurn will oversee wholesale operations, e-commerce, regional marketing, and apparel development for the brands across the region. The brands remain owned by the Nidecker Group and continue to operate as part of the company’s global portfolio of boardsports brands.

Founded in 1887, the Nidecker Group is a family-owned company led by brothers Henry, Xavier and Cédric Nidecker, with a long history of building authentic brands within board sports. Following the group’s expansion into skateboarding, the partnership with OneTurn represents an important step in strengthening the presence of etnies, éS and Emerica across the EMEA markets.

Headquartered in Anglet, France, OneTurn was founded by industry veterans Joost Grootswagers and Antoine Lanusse. The company operates a dedicated platform for boardsports and lifestyle brands, bringing together expertise in wholesale, retail operations, e-commerce and brand development across key international markets. OneTurn currently powers the European presence of Volcom, Spyder, and Aspen Collection. 

Through this partnership, OneTurn will support the continued development of  etnies, éS and Emerica by strengthening relationships with key wholesale partners, expanding direct-to-consumer channels, and building regional marketing and apparel initiatives tailored to skateboarding communities across EMEA.

“We are proud to partner with OneTurn to lead our EMEA business for etnies, éS and Emerica,” said the Nidecker brothers, Henry, Xavier and Cédric. “These brands sit at the heart of skate footwear, and we are deeply committed to building them for the long term. Our partnership with OneTurn sharpens that focus—allowing us to lead product and global marketing, while OneTurn drives accelerated growth across the EMEA region. We’re proud to join forces with Joost, Antoine and the entire OneTurn team as we elevate these brands and shape the next chapter together.”

Joost Grootswagers, Founder of OneTurn, added: “We are proud to welcome etnies  éS and Emerica into the OneTurn platform. These are authentic skate brands with real heritage, and they fit naturally alongside our existing portfolio. Our priority is to support retailers, strengthen local market execution and build long-term relevance for the brands across Europe.”

Pierre-André Senizergues, Founder of etnies, éS and Emerica, said he has “full confidence in Joost and his team” as they take on this important role for the region. He added: “With his deep knowledge of the brands, the market, and the culture of skateboarding, I believe Joost is well positioned to guide etnies, éS and Emerica successfully in the EMEA region. This partnership ensures continuity and confidence for retailers, partners, and consumers, while staying true to the skateboarding heritage that has defined these brands from the beginning.”

The collaboration reflects a shared commitment to support long-term growth for the brands while maintaining their deep roots in skateboarding culture, with the partnership launching through Fall 2026 deliveries and continuing into the Spring 2027 pre-order season.

GMYT Fashion Academy has inducted 21 new students into its 2026 cohort, marking a milestone in its ongoing efforts to combine fashion training with entrepreneurship education.

The induction ceremony, held on May 4, reflects the institution’s broader mission to equip young creatives with both design skills and business knowledge. According to organisers, the new intake represents a new generation of “emerging entrepreneurs” being prepared for careers that extend beyond traditional fashion roles.

Expanding fashion education beyond design

Speaking at the event, founder Princess Kelechi Oghene emphasised that the programme is designed to go “beyond the fashion industry,” encouraging students to develop entrepreneurial thinking alongside technical ability.

This approach reflects a growing shift in fashion education globally, where institutions are increasingly integrating business training, innovation and career development into their curricula. Rather than focusing solely on garment construction or aesthetics, programmes are evolving to prepare students for roles as founders, freelancers and creative entrepreneurs.

Education as a pathway to economic development

The academy positions its training as a tool for socio-economic impact, aiming to create employment opportunities and support youth empowerment through skill acquisition. The induction highlights how fashion education can function not only as creative training, but also as a driver of small business development and economic participation.

Industry speakers at the event contributed additional insights, offering guidance on career pathways and reinforcing the importance of combining creativity with practical knowledge. This type of engagement underscores the role of industry exposure within education, helping students understand real-world expectations early in their training.

Preparing future designers as entrepreneurs

By embedding entrepreneurship into its teaching model, GMYT aligns with a broader transformation in fashion education—one that recognises the need for graduates to be adaptable, commercially aware and self-sufficient.

As the fashion industry continues to evolve, initiatives like this highlight how education providers are redefining what it means to train a designer: not only as a creative professional, but as a business-minded innovator capable of building and sustaining a career in a competitive global market.

From an early career leap to New York to her role shaping future luxury leaders, Amy Johns' journey is defined by curiosity, adaptability and a deep understanding of the fashion industry today.

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

I started my career in New York where I moved to complete an internship with Anna Sui before my undergraduate studies had officially ended back in the UK. Not something I would necessarily endorse but it turned out to be a fantastic experience and really ignited the beginnings of my career within luxury fashion.

That experience particularly stands out to me for reasons that many of our students can relate to. I moved to a new city to follow a dream of working in fashion and it was both terrifying and exciting at the same time. It pushed me outside of my comfort zone very early in my career and I have absolutely no regrets.

It also gave me an early insight into the energy, creativity and pace of the industry. That experience stayed with me and shaped the way I think about opportunities, risk-taking and growth.

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

I would say I fall into the category of a lifelong learner, perhaps a typical millennial trait but I strongly believe you can never know enough. Curiosity can take you far both professionally and personally and I think it is crucial to remain curious about your subject area, your interests and the world around you. You never know where your next opportunity might come from.

One of the most valuable skills I developed early in my career was learning Excel while working in the merchandising team at Burberry. At the time, I found it really challenging. Working with numbers was not something I naturally gravitated toward and I had not planned to develop a career in merchandising.

However, those skills have stayed with me ever since. I still use Excel daily in my current role, whether for course planning or managing projects. It also allows me to better support students who are interested in analytical roles within the industry. That experience taught me something important- the skills that challenge you the most early in your career often become the ones that shape you the most.

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

What excites me most is being part of our students’ journeys into an industry they genuinely love. Whether that is directly through teaching, mentoring or behind the scenes developing curriculum, I really enjoy seeing how students grow in confidence throughout their time with us.

It is incredibly rewarding to watch them develop their ideas, navigate challenges and ultimately feel proud of what they achieve. Supporting them as they discover what truly aligns with their own values, interests and career ambitions is something I find particularly meaningful.

It is the part of my own journey that I am eternally grateful for, the people who supported me along the way. I love being able to play that role for future luxury leaders.

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

I’m finding the shift toward accountability around health and lifestyle particularly interesting right now. Consumers are becoming more intentional about how they live, what they buy and how luxury fits into their overall well-being. There’s a growing focus on longevity, quality and thoughtful consumption which aligns closely with luxury values.

I’m also enjoying the resurgence of heirloom accessories within styling. In many ways, these are luxury investment pieces renamed and repackaged but vintage and heritage items bring a sense of individuality and a finished feel to the ongoing minimalist luxury trend. It reflects a move toward quieter, more considered expressions of luxury.

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

If I could sit in on my own class as a student, I would be most excited to explore trend analysis. I find it fascinating to trace how cultural shifts, consumer behavior and industry changes shape the luxury landscape over time.

I particularly enjoy sessions where students develop their own perspectives and begin connecting insights across different sectors. It’s rewarding to see them build confidence in interpreting what is happening in the market and forming their own informed viewpoints. These skills are invaluable, especially in luxury, where understanding context and nuance is key to strong decision making.

How does the MA International Luxury Business program help students bridge the gap between luxury brand heritage and modern business strategy?

The MA International Luxury Business program helps students understand that heritage and innovation are not opposing forces but complementary elements of successful luxury brands. We encourage students to explore the foundations of luxury, including craftsmanship, storytelling and brand legacy while also examining how brands evolve in response to changing consumer expectations.

Through industry projects, case studies and strategic thinking exercises, students learn how to balance tradition with innovation. This prepares them to make thoughtful decisions that respect brand heritage while ensuring relevance in a modern, global luxury landscape.

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

If my students took just one mindset from my classroom, I would hope it would be curiosity. The luxury industry is constantly evolving and being open to learning and exploring new ideas is essential for long-term success.

I encourage students to ask questions, challenge assumptions and remain open to different perspectives. Curiosity not only supports professional growth but also helps individuals find roles that truly align with their interests and values. It is something that has shaped my own career and I believe it is one of the most valuable qualities future luxury leaders can develop.

Study luxury through a global, strategic and cultural lens at Vogue College of Fashion

OTB Group, the parent company of brands including Diesel, Jil Sander, Maison Margiela, Marni, and Viktor&Rolf, is teaming up with Google Cloud to launch a new AI-enhanced and “hyper-personalised” shopping experience using the technology giant’s virtual try-on API.

The initiative aims to bridge physical and digital shopping experiences by utilising Google Cloud’s generative AI to empower client advisors with digital styling tools to offer customers a hyper-realistic 360-degree visual preview of the product, which they can try on virtually, before encouraging them to book an in-store appointment to “experience the products first hand”.

The technology will launch with Diesel and Jil Sander across the US and European markets, before expanding in the coming months to Marni and Maison Margiela, followed by a rollout to additional markets.

Renzo Rosso, chairman and founder of OTB Group, said in a statement: "I have always believed in technology as a strategic lever to enhance human talent, at the service of people and creativity. In this context, Artificial Intelligence represents an extraordinary opportunity to make the customer experience more advanced, engaging and personalised.

“Together with Google Cloud, we have implemented a Virtual Try-On solution that introduces a new personalised shopping experience and provides our teams with more effective tools to deliver outstanding service and build closer relationships with clients. This project brings to life a vision I have been nurturing for over three years, made possible thanks to Google's best-in-class expertise in AI. I am confident this is the natural direction for the evolution of e-commerce and clienteling, and a key driver of growth for the future of the fashion industry."

The technology leverages Google’s Gemini Enterprise Agent Platform and Gemini models.

In addition, beyond the virtual fitting, the fashion group will also encourage customers to use AI image editing, built with Google's Nano Banana, to place themselves within Diesel's and Jil Sander's latest campaigns or fashion events, and then bring those images to life with video generated by Google's video creation LLM, Veo.

Matt Renner, president and chief revenue officer at Google Cloud, added: "Technology is at its best when it solves real-world challenges for the customer.

"This collaboration demonstrates how Google Cloud's AI can elevate the role of the retail team beyond automating tasks. By integrating Google Cloud's Virtual Try-On, OTB Group is pushing past standard transactions to provide client advisors with the AI tools needed to deliver deeply personal, confident shopping experiences at a global scale."

The EU textile system is at a critical crossroads. Today, less than 1% of discarded garments are recycled into new garments, despite EU-wide obligations for separate collection.

In response, Global Fashion Agenda (GFA) is launching the 2030 Circularity Blueprint, in partnership with ReHubs. This ambitious initiative is designed to support the transformation of the EU textile ecosystem to advance textile-to-textile recycling and drive the transition to a circular economy. The Blueprint will be officially presented at the Global Fashion Summit: Copenhagen Edition on 6 May - one of the world’s leading forums for sustainability in fashion - bringing together industry leaders, policymakers, and innovators to accelerate collective action.

Building on the ambitions of GFA’s 2020 Circular Fashion System Commitment and grounded in robust industry and value chain engagement, the Blueprint identifies and addresses the systemic fragmentation that has long hindered progress. It introduces a coordinated roadmap to close collection gaps, align stakeholders, and unlock the estimated €8–11 billion Capital Expenditure required to build Europe’s textile-to-textile recycling infrastructure.

Accelerating System-Level Change

The 2030 Circularity Blueprint sets out a clear implementation pathway - presenting eight interconnected intervention areas that have been designed to address systemic barriers in a coordinated way:

Systemic Conditions:

1. Shared Framework for Circular & Sustainable Materials
2. Textile Waste Intelligence Platform
3. Demand Signal Initiative: Long-Term Offtake Commitments

Value Chain Interventions

4. Designing for the Loop: Circularity at Product Design Stage
5. Closing the Collection Gap: Effective Textile Collection Systems
6. Closing the Sorting Investment Gap: Demand Certainty for Sorters
7. Pre-Sorting & Feedstock Preparation: Regional Hub Infrastructure
8. Recycling Infrastructure at Scale: A Coordinated CAPEX Roadmap

When implemented correctly, the eight interventions are designed to create a system that turns voluntary ambition into investment-grade infrastructure and scalable industrial capacity by 2030, with the ambition to reach a target of 2.7 million tonnes of textile-to-textile recycling capacity by 2035.

As part of the 2030 Circularity Blueprint, GFA and ReHubs will bring two collaborative programmes to life. The first, led by ReHubs, centres on the 'Textile Waste Intelligence Platform'. The second tackles the critical challenge of closing the collection and sorting gap.

A Collaborative Path Forward

The 2030 Circularity Blueprint is designed as a dynamic, collaborative ecosystem, bringing together stakeholders across the value chain to co-create solutions, share ownership, and track progress. It will require coordinated, cohesive effort from all stakeholders - across brands, sorters, recyclers, infrastructure operators, and policymakers - working in alignment rather than in parallel. The intervention areas will be advanced in partnership with other organisations ready to lead and invest.

Call to Action:

GFA and ReHubs are actively seeking funding, partnerships, and contributions to bring the full 2030 Circularity Blueprint to life. Organisations are invited to lead and support the remaining intervention areas critical to achieving Europe’s circular textile ambitions.

To further catalyse progress, GFA is issuing a Call to Action for a Targeted Policy Incentive Framework, with concrete suggestions on how to unlock the secondary raw materials market in the EU. While demand for recycled feedstock is rising, cost remains a key barrier: recycled inputs currently command a premium ranging from approximately 20% to as much as double the price of virgin materials. Addressing this will require stronger demand through public procurement, more harmonised and fit-for-purpose Extended Producer Responsibility (EPR) systems across countries, clearer requirements for the use of recycled materials, and increased investment in recycling infrastructure.

Recognising that scaling circular textiles requires aligning economic drivers with policy ambition, the proposal sets out targeted incentive measures across EU legislative and financial instruments. It urges the European Commission to integrate these across existing and forthcoming frameworks, while encouraging Member States to operationalise them at national level, ensuring that circular solutions can compete and scale in practice.

Federica Marchionni, CEO, GFA, says: "The vision for a textile circular economy is clear, and innovation is gaining ground. Yet progress is stalled by supply–demand deadlocks, compounded by a fragmented landscape where initiatives and stakeholders operate in silos, often unaware of their interdependence. Furthermore, without precise incentives to align efforts and investment, progress cannot move at the pace required.

Evan Wiener, Interim COO and Board Advisor to ReHubs, says: “Unlocking textile circularity at scale requires the full value chain to move together. ReHubs brings leading organisations from across the textile recycling value chain to the same table to align interests, orchestrate investment, and turn fragmented efforts into a functioning ecosystem. This collaborative initiative directly supports our strategy to industrialise textile-to-textile recycling and break the supply–demand deadlock at scale.”

The 2030 Circularity Blueprint aims to change that—identifying key bottlenecks and leveraging interconnections to unlock the potential of the circular value chain: turning ambition into tangible progress.

Review

On May 6, 2026, Kevin Germanier for the LVMH group opened the Global Fashion Summit in Copenhagen with the 'surprise' show of a haute couture collection. It was created using unsold stock from seven houses within the group led by Bernard Arnault, reinventing creative processes and establishing the 'art of deconstruction' as a new luxury industry.

The collection had already been shown at the close of Paris Haute Couture Week in January 2026. Here at the Global Fashion Summit, the aim was to turn words into action with an excerpt from that show.

After explaining the “Joining Forces” strategy, which FashionUnited will revisit, Hélène Valade, environment development director at LVMH, introduced the project. It was developed with Swiss fashion designer Kevin Germanier, who specialises in upcycling.

Germanier x LVMH show highlights the 'art of deconstruction'

Disassembling, unpicking, unbuttoning, unravelling, unscrewing, dismantling and reconstructing existing garments. “Essentially, the creative process is completely changing its nature,” explained Hélène Valade after the conference.

“This process is longer and more complex than working with deadstock,” remarked Kevin Germanier. “For obvious reasons, you cannot select an exclusive print chosen by a house or use logos or already engraved metal parts. They must be reinvented without being destroyed. Sometimes, you just have to un-embroider them.”

“We have started working on repairs, which is still very new,” added Valade. “We are considering a partnership with a repair school. Some houses already have dedicated repair training because this craft is different from that of ‘making’. It is exactly the same for the skills mobilised by Kevin.”

Next show announced for Haute Couture July 2026

Some pieces from the show were made from outfits linked to the Paris 2024 Olympics and the Berluti brand. The latter requested that certain identifiable elements, such as the patinated collar, remain visible in these new creations.

This is proof that the mindset of the group's houses is evolving. Following the show, some have reportedly started their own discussions about upcycling existing pieces as a driver of new creativity.

“Through this experience, there is a desire to familiarise all the teams with another way of working, as part of a profound transformation of practices,” noted Valade.

“Essentially, we need to build a new industry,” stated Germanier. “It is a double win that brings visibility both outside the group and internally. This aspect is crucial.”

At this stage, the project is conceived as an evolving process rather than an immediately marketable standalone brand. The extra work involved in the 'art of deconstruction' generates additional costs. This is partly offset by not having to purchase raw materials.

A new presentation of this upcycling work is scheduled for July, during the Paris Haute Couture Week in July 2026.

The Women’s National Basketball Association (WNBA) have signed a new multi-year deal with Skechers to make the American footwear brand an official partner with the league. The partnership will kick off for the WNBA’s milestone 30th season and will bring Skechers basketball footwear to the forefront.

David Weinberg, chief operating officer at Skechers, said in a statement: “Partnering with the WNBA illustrates our long-term commitment to promoting women’s basketball and elevating the athletes who are enthusiastic about the game at every level.

“Skechers has been part of the basketball community for several seasons, and now fans will see our innovative footwear take centre stage in the WNBA for the first time. We look forward to leveraging the league’s exploding popularity to help grow the sport while introducing our signature Comfort That Performs to even more athletes around the world.”

The move expands upon Skechers ongoing support for women’s sports, as well as its involvement in women’s basketball. In 2024, forward Rickea Jackson, who was recently traded to the Chicago Sky, became the first athlete to play in Skechers basketball footwear in the WNBA. Skechers expanded its roster in 2025, adding Washington Mystics forward Kiki Iriafen and shooting guard Jackie Young, who won her third WNBA championship with the Las Vegas Aces last season.

Colie Edison, chief growth officer at WNBA, added: “This partnership reflects the growing demand from global brands to connect with WNBA fans worldwide. We look forward to collaborating with Skechers to create unique fan experiences, deepen engagement, and elevate the players who power our league.”

“For me, it’s all about staying comfortable and locked in, and Skechers gave me that all the way through our championship run last season,” Young said. “This season is going to be special, and it feels like the perfect time for Skechers to make it official. I can’t wait to see more players in the S on the court soon.”

Skechers offers several basketball styles, designed for athletes of all skill levels, including the "fast and responsive" SKX Nexus, the flexible SKX Full-Court Press, the lightweight SKX Resagrip, featuring advanced cushioning, and the SKX Reign, designed for elevation and intense traction.

Austrian fiber producer Lenzing has reported a positive net result for the first quarter of 2026. This marks a financial recovery for the group following three consecutive negative quarters throughout 2025.

The group achieved a net profit of 24 million euros (28.24 million dollars) for the period ending March 31, 2026. While this figure is lower than the 31.70 million euros recorded in the first quarter of 2025, it represents a significant stabilization of operational development.

Revenue and earnings performanceRevenues for the first quarter of 2026 reached 615.70 million euros, a decrease of 10.80% compared to the 690.20 million euros generated in the prior-year period. Management attributed this decline to lower fiber sales volumes and pricing, alongside reduced pulp prices. The reduction in fiber volumes was partly due to deliberate production management.

This included the temporary curtailment of less profitable production lines to align with a strategic focus on value-generating growth.

EBITDA amounted to 116.30 million euros. The EBITDA margin stood at 18.90 percent, down from 22.60 percent in the first quarter of 2025. Lenzing chief financial officer (CFO), Mathias Breuer, stated: “During the first quarter of 2026, we further stabilized our operational development and returned to a positive net result after economically challenging previous quarters”.

The group is continuing its holistic performance program, which achieved savings of more than 200 million euros during the 2025 financial year. This transformation aims to structurally strengthen profitability and resilience through operational excellence and energy optimization.

Acquisition of TreeToTextile and outlook

In February 2026, Lenzing acquired a majority stake in Swedish fiber developer TreeToTextile. This move is intended to advance the group's premiumization strategy and its position in the market for next-generation specialty fibers. The initial consolidation of TreeToTextile resulted in a one-time positive effect from negative goodwill, which supported EBITDA for the quarter. Total positive one-off effects for the period reached 25.70 million euros.

Despite the return to profit, the market environment remains characterized by geopolitical tensions and volatile energy prices. Key risks include the Middle East conflict, which is expected to drive increases in raw material prices and inflation. Due to these ongoing uncertainties, Lenzing stated that a reliable forecast for the full 2026 financial year is currently not possible.

JD Institute of Fashion Technology has received accreditation from the Global Standardization and Accreditation Agency (GSAAA), a development that highlights ongoing efforts to formalise quality standards within fashion and design education.

The accreditation recognises the institute’s academic framework, curriculum structure and teaching methodologies, positioning it among institutions seeking to align creative education with global benchmarks. It also reflects a broader trend in fashion education toward increased accountability and standardisation.

Raising standards in fashion education

Accreditation from GSAAA signals that the institute meets specific criteria related to course delivery, faculty expertise and infrastructure. For students, this can translate into greater confidence in the quality of education, as well as improved recognition of qualifications in both domestic and international contexts.

The move comes at a time when fashion education is expanding rapidly, particularly in emerging markets, creating a need for clearer quality assurance frameworks. Institutions are increasingly seeking external validation to ensure their programmes remain competitive and relevant.

Aligning education with industry needs

A key focus of the accreditation process is the alignment between academic training and industry expectations. Programmes are evaluated on their ability to equip students with practical skills, technical knowledge and exposure to current trends, including digital tools and evolving design practices.

This reflects a wider shift in fashion education, where institutions are expected to prepare students not only creatively but also professionally, ensuring they can transition effectively into the workforce.

Global outlook for future designers

By obtaining international accreditation, JD Institute strengthens its position within the global education landscape, offering students pathways that extend beyond local markets. The recognition may also encourage further collaboration with international institutions and industry partners.

As the fashion sector continues to evolve, developments such as GSAAA accreditation highlight the growing importance of structured, globally recognised education systems in preparing the next generation of designers.

British sports fashion powerhouse JD Sports Fashion has reported a resilient performance for the 52 weeks ended January 31, 2026, despite what it described as a tough global industry backdrop. The group achieved total sales of 12.66 billion pounds (17.22 billion dollars), representing an 11.7 percent increase at constant currency and organic sales increase of 2.1 percent.

For the 2026/27 financial year (FY27), the group has provided a wider profit guidance range of 750 million pounds to 850 million pounds to reflect ongoing macroeconomic uncertainty.

North America becomes largest regional market, apparel category drives growth

North America has officially overtaken the UK as the largest region for JD Group, now accounting for 38 percent of total sales. Revenue in the region reached 4.78 billion pounds, supported by the annualization of the Hibbett acquisition. Operating profit in North America reached 353 million pounds, representing 40 percent of the group total. Organic online sales in the region grew by 12.2 percent, a result the group attributed to improved ranging and technology platforms.

Group performance was supported by growth in all regions except the UK. While reported revenue climbed 10.5 percent, profit before tax and adjusting items (PBTAI) decreased by 7.7 percent to 852 million pounds. Statutory profit before tax fell 12 percent to 629 million pounds, impacted by higher operating costs and investment in infrastructure.

Europe also delivered a resilient performance with organic sales growth of 4.2 percent to 4.25 billion pounds, and Asia Pacific, representing 4 percent of Group sales exited the year with positive LFL momentum. Overall, Asia Pacific delivered organic sales growth of 8.5 percent and LFL sales of 0.4 percent. The company ended FY26 with 4,811 stores worldwide in 36 countries.

While like-for-like (LFL) sales declined by 2.1 percent across the group, the apparel category remained a strong performer with organic growth of approximately 5 percent year-over-year (YoY). Yanmei Tang, AVP at Third Bridge noted that the shift into apparel is worth watching. "The category typically has higher margins than footwear, and if executed well, could support profitability even as overall growth remains weak," Tang said.

Footwear sales remained flat on an organic basis as the industry transitioned between product cycles. However, JD Group chief executive officer, Régis Schultz, noted encouraging momentum in the running category.

Strategic focus on omnichannel and artificial intelligence

The group is advancing its Beyond Physical Retail pillar by completing a global e-commerce re-platforming. Following successful roll-outs in North America and Italy, the UK and the rest of Europe are scheduled for upgrades later in 2026.

JD Group is also accelerating the adoption of artificial intelligence (AI). The company is embedding AI into its operating model to improve discoverability through agentic AI platforms and optimize merchandising decisions such as markdown timing.

US-based childrenswear group Carter’s has announced its financial results for the first quarter of fiscal 2026, reporting a rise in net sales across all business segments. The company, which is the largest apparel firm for infants and young children in the US, saw net sales increase by 51.3 million dollars to reach 681.1 million dollars, representing an 8.1 percent climb compared to the first quarter of fiscal 2025.

Growth was particularly robust within the US Retail and International divisions, which saw increases of 12.8 percent and 14.3 percent respectively. The US Wholesale segment recorded a more modest rise of 0.5 percent. Within the domestic market, US Retail comparable net sales grew by 10.5 percent, supported by an early Easter holiday period and strategic marketing investments that improved traffic across both brick and mortar stores and e-commerce platforms.

Profitability impacted by macro-economic pressures

Despite the top-line growth, the group faced significant headwinds regarding profitability. Operating income for the period rose 9 percent to 28.4 million dollars, with an operating margin of 4.2 percent. However, adjusted operating income fell by 19.6 percent to 28.4 million dollars, down from 35.4 million dollars in the previous year.

The decline in adjusted margins was attributed to incremental tariff costs, inflationary pressures on store-related expenses, and higher interest costs. These factors were only partially mitigated by higher pricing strategies and a more favourable channel mix. Net income subsequently decreased to 14.3 million dollars, or 0.39 dollars per diluted share, compared to 15.5 million dollars in the first quarter of fiscal 2025.

New leadership to guide future growth

Carter’s interim chief executive officer, president, chief financial officer and chief operating officer, Richard F. Westenberger, noted that while costs remained high, the impact is expected to moderate throughout the year. Westenberger also highlighted the upcoming appointment of Sharon Price John, who will take over the role of CEO next month.

“Sharon’s extensive industry experience, especially in the children’s space, and her demonstrated record of success position her well to lead the next chapter of Carter’s transformation and growth,” Westenberger stated. The group has reiterated its full-year outlook for 2026, forecasting low single-digit to mid-single-digit percentage growth in both net sales and adjusted operating income.

Fiscal 2026 projections and dividends

For the full fiscal year 2026, the group expects operating cash flow to range between 110 million dollars and 120 million dollars, with capital expenditures planned at 55 million dollars. For the second quarter (Q2), the company anticipates low-single-digit sales growth and adjusted operating income between 11 million dollars and 13 million dollars.

During the first quarter, the group returned value to shareholders by paying a cash dividend of 0.25 dollars per common share, totalling 9.2 million dollars.

While sustainability is increasingly impacting fashion economics, executive attention is paradoxically dropping. A new report, “Fashion CFO Agenda 2026”, argues that sustainability is no longer just a “high visibility” topic but a core financial discipline essential for long-term company resilience. It has been co-authored by Global Fashion Agenda (GFA) and Boston Consulting Group (BCG) and was presented yesterday as part of the ongoing Global Fashion Summit.

The boardroom practice is different, however, and the report highlights a critical disconnect in the industry: As research has shown, sustainability mentions in earnings calls have declined by roughly one-third since 2022, as leaders shift focus toward immediate pressures like AI adoption and geopolitical volatility. The report shows why embedding sustainability into finance should become a CFO imperative.

Sustainability priorities vs. budget pressures

Sustainability is now a material factor reshaping the cost structures of fashion companies through intensifying financial implications. Climate-driven disruptions have already caused price spikes of up to twofold for raw materials like cotton and wool. As Mango CFO Margarita Salvans observes, the focus has moved from “if” to “how”—specifically, “how we balance sustainability priorities within budget pressure”. Integrating these factors into corporate finance is presented as a prerequisite for mastering risk and unlocking new value.

A major looming financial pressure is the implementation of Extended Producer Responsibility (EPR) for textiles, which shifts end-of-life costs to producers. In the EU, member states must establish these systems by April 2028. For a large mass-fashion player, EPR fees could lead to a 1.1 percent increase in cost of goods sold (COGS) and a 4 percent decrease in net profit by 2030, according to the report. To mitigate this, it suggests “eco-modulation,” where fees are adjusted to reward circular or lower-impact designs.

Unlocking value and efficiency

Despite the costs, the report identifies significant economic upsides to sustainable practices. Approximately 70 percent of fashion-sector greenhouse gas (GHG) emissions could be reduced at low cost or even with cost savings, such as switching to renewable power, it argues. Furthermore, circular business models (CBMs) like resale and rental are outperforming the overall market, with second-hand fashion projected to grow at a 10 percent compound annual growth rate (CAGR) through 2030. According to the report, these models provide a pathway to decouple revenue from resource use while diversifying income streams.

The CFO's role is evolving into the strategic custodian of financial resilience, separate from but complementary to the chief sustainability officer (CSO). While the CSO sets the direction, the CFO enables execution by hardwiring sustainability into financial control, planning and strategic capital allocation. “When you start measuring impact, you uncover inefficiencies,” notes Adam Karlsson, CFO of the H&M Group, highlighting how sustainability data reveals hidden operational waste.

Four approaches to prioritisation

Given that short-term budget pressure is the leading barrier to investment, the report outlines four financial approaches to guide prioritisation: risk mitigator, cost optimiser, commercial driver and transformation enabler. Companies should select an approach based on their maturity and ambition, moving from a focus on compliance to embedding sustainability into core strategy. Dorte Rye Olsen of Bestseller emphasises that (double) materiality assessments remain “an essential tool in ensuring we allocate resources and capital where we deliver the greatest impact”.

Effective deployment of capital is essential for scaling innovation, such as next-gen materials and textile-to-textile recycling. The H&M Group, for example, used its “New Growth & Ventures” function to become a majority owner of resale platform Sellpy, which saw its turnover more than double between 2022 and 2025. The report suggests using advanced mechanisms like sustainability-adjusted hurdle rates or internal carbon pricing to better reflect the long-term benefits of these strategic investments.

Ultimately, the CFO cannot succeed in isolation; success requires both internal alignment and external collaboration. Internally, strong CFO-CSO alignment and board buy-in are critical for navigating trade-offs. Externally, initiatives like the Future Supplier Initiative (FSI) demonstrate how brands can collectively de-risk supplier capital expenditure through blended finance structures.

“For most companies, investments in sustainability are still largely driven by economic fundamentals such as cost predictability, supply security and effective risk management. However, as market mechanisms and regulatory frameworks increasingly internalise these factors, a stronger foundation is emerging for sustainability investments to become a natural and integral part of core business strategy,” concludes Engin Mete, chief growth strategy officer and CFO of Re&Up.

Shortcomings

Despite the report’s compelling financial logic, a potential flaw in the argumentation lies in the tension between long-term resilience and the immediate survival of low-margin players. While the report suggests that 70 percent of emissions can be abated at a low cost, the direct savings often accrue to suppliers, leaving brands to rely on “indirect benefits” that may not materialise quickly enough to offset the 4 percent net profit erosion predicted from EPR fees.

Furthermore, the transition from a “risk mitigator” to a “transformation enabler” assumes a level of capital flexibility that the report itself acknowledges is currently restricted by short-term budget pressure—the leading barrier to investment. By framing the decline in executive attention as a “fundamental disconnect,” the authors risk underestimating the very real possibility that for some companies, the immediate cost of sustainability implementation may outpace the speed of value capture in a softening market.

I had read about its history, its role on the Silk Road and the sheer scale of its territory, yet arriving in Almaty surpassed all expectations. The city unfolds at the foot of an imposing mountain range, which constantly frames an urban skyline dominated by modern glass skyscrapers.

The latest edition of Fashion Week Almaty took place from April 28 to 30 in the former Kazakh capital, backed by major sponsor VISA. It brought together 18 designers from Kazakhstan, Azerbaijan, Armenia, Hungary and Morocco, positioning the city as the epicentre of a creative conversation on identity and cultural transformation in Central Asia.

The event's proposal directly engages with this idea of ongoing transformation. Kazakhstan is presented not just as a heritage, but as an open dialogue between what it was, what it is and what it aspires to be. This exchange of perspectives—both internal and external—is where the concept for this edition is articulated, under the theme “seeing and being seen”.

“It is the recognition that our identity is formed here and now, in the eyes of others and in our own reflection,” explained Bauyrzhan Shadibekov, CEO of Visa Fashion Week Almaty, referring to the country's current creative moment.

Our identity is formed here

Maison ARTC, the “house of culture” founded by Moroccan designer and artist Artsi Ifrach and recognised with the Fashion Trust Arabia award in 2022, was one of the standout presences at this edition in Almaty.

Ifrach's work offers a reflection on how cultural identities are constructed and projected in global circulation. This is a particularly relevant issue in a context where, he argues, fashion is no longer exclusive to the major capitals but is beginning to be built from other creative hubs.

Artsi Ifrach deliberately distances himself from mass production, placing his work in a territory closer to art. His unique pieces exist at the intersection of fashion, performance, photography and material archive. The use of repurposed textiles and collaboration with artisans is not presented as an added discursive gesture, but as the very core of his practice. Each collection is understood almost as a moving exhibition, where fashion functions as a narrative and critical medium.

Cultural bridges

The internationalisation of Visa Fashion Week Almaty was also strengthened by its collaboration with Budapest Central European Fashion Week, which brought the brand Nanushka to the stage with its “Sacred Utility” collection.

Within this network of influences, Italian fashion has also found fertile ground for dialogue, making its presence in Central Asia more than just a commercial expansion. From an institutional perspective, the Italian Trade Agency in Almaty is establishing itself as a strategic bridge between the two creative ecosystems.

Its work is not limited to introducing Italian brands to the Kazakh market. It also facilitates the reverse flow of talent, connecting local designers and companies with the Italian training and production system.

The result is a process of co-evolution where fashion acts as a tool for cultural diplomacy, knowledge transfer and the construction of new professional identities.

Evolution towards a global ecosystem

Danara Usmanova, commercial director of Saks Fifth Avenue Almaty, also explained during one of the organised talks how Kazakhstan's fashion industry is undergoing a transformation through spaces like Saks Fifth Avenue in Almaty and Astana.

"It is no longer just about creativity,” she noted, “but about supporting emerging designers in understanding international standards, production processes and commercial communication tools.” This change reflects a shift from a more local, artistic fashion scene to a more structured industry capable of scaling and projecting itself beyond the country's borders.

In this context, the first night of the event—a Traditional Gala organised by Saken Zhaksybayev and the Fashion Bureau at the Almaty Theatre under the concept “Made in Kazakhstan. Made with Love”—focused on national identity and local craftsmanship.

Attendees transformed the new Almaty Theatre into a veritable social runway, with carefully chosen pieces that created a collective celebration of dress.

More than an isolated phenomenon, the event's street style established itself as a parallel chapter within the Fashion Week narrative. Throughout each day, the many photographers who gathered at the location, the Atakent Exhibition Center, captured images of attendees at various points around the venue. This turned the observation of styles into an almost choreographed dynamic.

Five key proposals

This balance between tradition and experimentation is giving rise to a unique creative language, capable of positioning itself on the international map beyond being merely "emerging".

Here is a selection of five brands that encapsulate some of the most relevant directions observed at Visa Fashion Week Almaty.

ZhSaken (Kazakhstan)

Saken Zhaksybayev, founder of the Fashion Bureau and a key figure in the event's organisation, closed the three days of shows with a proposal that served as a statement of principles. In “Art Is Not Enough”, fashion occupies an intermediate territory between the intuitive and the conscious, with an aesthetic inspired by the energy of contemporary art biennials.

The result is a pop surrealism where the contrast between classic feminine codes and sport-inspired accessories articulates a deliberately hybrid narrative. Gingham checks, urban-inspired graphics and amplified volumes are used to challenge the notion of luxury, shifting it towards a more playful, even ironic, territory.

The collection is articulated through contrasts. Architectural structures are set against bursts of red and deep blue, while transparencies coexist with dense textures. The result is a series of looks that seem to be in a constant state of transformation, as if each were an autonomous gesture within a larger manifesto on creative freedom.

Mariko (Kazakhstan)

Mari Airapetyan transforms migratory memory into textile form. “Urmia” articulates a precise balance between craftsmanship and contemporary design, using crochet, long fringes and highly tactile fabrics that add density to clean silhouettes.

The collection is defined by a quiet sophistication. A neutral colour base is interrupted by vibrant orange and purple accents, highlighting a formal investigation focused on materiality. Far from nostalgic, the proposal reconfigures traditional codes with a distinctly modern logic.

YesYes! (Kazakhstan)

Winner of the sixth edition of the Next Designer Award empowered by Visa, Esmukhan Esbolat—at the helm of YesYes!—presents one of the most conceptually solid proposals of the season with “BITPEYTIN TOY”.

Drawing on rural imagery and the festive iconography of the 2000s, the designer reformulates traditional Kazakh celebrations from a critical perspective. The “brilliant chaos” of the 'toys' (celebrations) is deconstructed and reinterpreted through an aesthetic that incorporates cyberpunk references: neon palettes, exaggerated volumes in materials like feathers and accessories that conceal the face.

The result is a visual narrative that oscillates between nostalgic and dystopian, projecting a vision of haute couture infused with contemporary cultural tensions.

Sako (Kazakhstan)

Saltanat Abdildaeva's debut is constructed as an intimate exploration of the process of self-acceptance. Through a visual language based on contrasts, the designer juxtaposes rigid graphic structures with soft volumes and almost exaggerated floral embellishments.

The transition from monochrome black to a more expressive palette serves as a metaphor for the development of one's own identity. The result is a collection that translates personal experience into a very interesting proposal.

Manuk Aleksanyan (Armenia)

From Armenia, Manuk Aleksanyan offers a reflection on the suggestive power of belief. “Effect Placebo” is articulated through a dark maximalism that combines grunge codes with gestures typical of the artistic avant-garde. Rigid silhouettes, surfaces adorned with large-format sequins, feathers and graffiti create a proposal with a strong theatrical charge. Aleksanyan thus positions himself in a territory that shuns the conventional to explore a raw, theatrical and decidedly provocative visual identity.

Fashion-Enter Ltd (FEL), a British clothing manufacturer and the organiser of Leicester Made & Regions, has been awarded the King’s Award for Enterprise 2026 in the Sustainable Development category.

The award recognises the organisation’s efforts in sustainability integration within fashion manufacturing and education, specifically in the implementation of technology and the endorsement of ‘Made in the UK’ production.

FEL follows an “ethical” micro-factory model that prioritises low-volume and “environmentally-conscious production”, initiated alongside apprenticeship programmes and garment repair and repurposing initiatives.

The Royal accolade is approved by His Majesty The King following recommendation by the Prime Minister, Keir Starmer, and includes an invite to a Royal reception, where FEL will be presented with the award by a Lord-Lieutenant. The company will also be entitled to use the King’s Awards emblem for the next five years.

In a statement, Jenny Holloway, CEO of FEL, expressed how proud she was of the team for their hard work and passion. “The King’s Award is a testament to our collective effort to push boundaries and build a sustainable, forward-thinking company that is relevant to today’s dynamic fashion environment,” she added.

Much of FEL’s efforts in recent years have been centred around reviving the reputation of manufacturing hubs like Leicester, where “overinflated” allegations of exploitative practices have caused widespread impact on the livelihoods of factories and workers.

Now, FEL has bolstered efforts to motivate and urge British brands to commit to ordering from such factories in a push for localisation and onshoring, which has gained traction due to complications surrounding international supply chains.

Sportswear brand Castore has secured a 90 million pound facility with banking partners as it continues to pursue global expansion and rollout a growth strategy. The company said it would use the funding to facilitate new retail openings across the UK, as well as support growth into the Middle East and Asia.

In a statement, Mark Rowan, global relationship director at HSBC UK, which was joined by BNP Paribas and Lloyds in the funding round, said: “Castore has demonstrated impressive growth since its launch and continues to build a strong presence both in the UK and internationally.

“It’s fantastic to be among the banking partners to support the business with this funding, which will provide the support needed to execute its ambitious expansion plans and long-term growth strategy.”

Founded in 2015, Castore is now targeting a turnover of more than 300 million pounds over the next financial year, a mission it intends to achieve through investments into digital infrastructure and analytics capabilities.

Beyond retail expansion, Castore has also been growing its presence through M&A, having specifically snapped up British premium brand Belstaff in a deal last year. At the time, Castore said it was planning to drive future growth through both companies, while steering Belstaff specifically back to profitability.

Speaking on the latest funding, Castore’s co-founder, Tom Beahon, said: “Our ambition for Castore is to continue to offer our growing customer base sportswear that is committed to performance, innovation and premium quality.

“This new funding provides us with the flexibility and ability to accelerate our retail rollout, expand into new international markets and continue to grow the brand in the UK and overseas. We are excited about the next chapter of growth and the opportunity to strengthen our position as a leading global sportswear brand.”

Steve Madden has reported an 18 percent increase in revenue for the first quarter of 2026, reaching 653.1 million dollars, supported by growth in direct-to-consumer and contributions from Kurt Geiger.

Net income rose to 71.8 million dollars, compared to 40.4 million dollars in the same period last year. However, adjusted net income declined to 32.1 million dollars, reflecting higher operating costs during the quarter.

Gross profit margin increased to 54.7 percent, while operating expenses rose to 39.5 percent of revenue. Adjusted operating income fell to 46.3 million dollars, compared to 56.1 million dollars a year earlier.

In wholesale, revenue increased slightly by 1 percent to 443.6 million dollars. Excluding Kurt Geiger, wholesale sales declined by 8.2 percent, with footwear down 12 percent. Accessories and apparel showed growth of 15.1 percent, though this was flat when excluding the acquired brand.

Direct-to-consumer was the strongest channel, with revenue rising 83.8 percent to 206 million dollars. Excluding Kurt Geiger, DTC grew 8 percent. The company also reported higher margins in the segment, supported by pricing and channel mix.

The group ended the quarter with 387 stores, alongside e-commerce operations and international concessions.

Chairman and CEO Edward Rosenfeld said demand remained healthy across brands, driven by product and marketing. He added: “While earnings declined in the first quarter, we expect to return to earnings growth in the second quarter and deliver strong top- and bottom-line growth for the full year.

“Looking out further, we are confident that our powerful brands, proven business model and talented team position us to deliver sustainable growth for years to come.”

For the full year, the company raised its revenue outlook and now expects sales to increase between 10 and 12 percent, with projected earnings per share in the range of 2.55 to 2.65 dollars.

Madrid – Following its initial investment in the Valencia-based company in early 2019, US investment firm Carlyle has reportedly decided to fully divest from Jeanologia. Carlyle also holds investments in other prominent Spanish and fashion sector companies, such as Codorniu and the Italian brand Golden Goose. Jeanologia specialises in eco-efficient technological solutions for the textile industry, and Carlyle currently controls approximately 40 percent of its share capital.

The Financial Times reported the terms of Carlyle's entry into Jeanologia's capital in early March 2019. The respected British financial publication stated that the US private equity firm had acquired 40 percent of the Valencia-based company. This transaction, according to sources close to the acquisition, valued the company at approximately 150 million euros. Based on these figures, Carlyle's purchase of the 40 percent stake in Jeanologia would be valued at around 60 million euros.

Just three days after the financial media broke the story, Carlyle confirmed the transaction without specifying the exact terms or the percentage of Jeanologia's capital it had acquired. The firm did clarify, however, that the purchase was limited to a significant minority stake. This stake was not acquired from the company or its founding family, the Silla Vidal family, but from the Spanish private equity firm MCH Private Equity.

MCH had entered the Valencia-based company in December 2015, acquiring a 35 percent stake for approximately 20 million euros. It was reported at the time that MCH would retain a minority share in Jeanologia. The firm later decided to sell this remaining stake, leaving the Silla Vidal family as the majority shareholder and Carlyle as the key minority shareholder.

At the time, Enrique Silla, chief executive officer of Jeanologia, stated: “Carlyle's entry into Jeanologia's capital will help us advance towards our aspirational goal of eliminating wastewater in the textile industry by 2023, making the manufacturing of traditional blue jeans an industrial and technological standard.”

Alex Wagenberg, managing director of The Carlyle Group, added: “We look forward to supporting Jeanologia's explosive growth by developing its innovative product range and future business opportunities.” The company closed the 2019 financial year—the last to be completed before the effects of the Covid-19 pandemic—with sales of approximately 104.48 million euros (a 3.38 percent year-over-year decrease) and a net profit of around 28.7 million euros (a 13.29 percent decrease).

Seeking a buyer for 40 percent of Jeanologia

Since then, with Carlyle remaining a key minority investor, the Valencia-based company has not fully realised the potential the investment firm saw in 2019. Compared to the declining figures at the end of that year, the Valencian textile company closed its 2024 financial year with a turnover of approximately 45 million euros (a 17.2 percent year-over-year increase) and a net profit of around 4.3 million euros (a 43.33 percent increase). While these results show positive growth compared to 2023, the company's revenue remains 56.93 percent below 2019 levels, and its profits are 85 percent lower.

In this context, Carlyle has reportedly decided to fully divest from the Valencia-based company, which specialises in eco-efficient technologies for the textile industry, specifically for manufacturing denim garments and fabrics. Since its founding in Valencia in 1994, its technologies have been implemented into the value chains of major fashion brands and houses, including Levi’s; Uniqlo; Gap; Inditex; American Eagle; Abercrombie & Fitch; Mango; Chanel; Prada; Balenciaga and Guess.

The Spanish company estimates that its technologies are currently used to produce more than 40 percent of all jeans manufactured worldwide. This operational scale, however, does not appear to be reflected in the company's financial statements. Coinciding with its 30th anniversary in 2025, Jeanologia announced it was preparing to open a new chapter of development by “integrating artificial intelligence, robotics and advanced automation to create smarter, more precise and efficient processes”.

For this new chapter, which began to take shape in 2026 with the launch of “Billy”—presented as “the first artificial intelligence developed specifically for denim design”—the company's founders aim to continue leading Jeanologia with their 60 percent stake. This was reported by sources close to the company to the financial publication Expansión. The publication also reported that Carlyle has hired Banco Santander to act as a financial advisor and prepare the sale process for the 40 percent stake still held by the US investment firm.

As the warmth of the new season sets in, women's dressing has taken a clear new direction. The structured, fitted styles that dominated recent years are making way for something looser, lighter, and more relaxed. The tiered dress is at the center of it. Built from horizontal layers of fabric, each slightly wider than the one above, the silhouette creates natural volume and movement toward the hem.

Across runways, street style, and retail floors, it is emerging as one of the strongest trends of the spring/summer season, pieces that look considered and stylish without requiring much effort to wear. Here, FashionUnited takes a closer look at the driving forces behind this trend.

The silhouette

The tiered dress works because it balances volume with simplicity. Key details driving the trend include multi-layered skirt constructions, balloon or three-quarter sleeves, and clean necklines, typically a V-neck, that keep the overall look grounded despite the generous proportions. It is a silhouette that moves well, photographs well, and works across a wide range of occasions, from daytime to dinner.

The fabric

Volume only works in warmer months if the fabric is right. Cotton voile has become the go-to material for this silhouette, it is light, breathable, and has enough natural drape to make layered constructions fall properly without adding weight. The focus on natural fibers also gives the trend longevity, responding to a broader and ongoing consumer shift toward materials that feel good and come with a straightforward product story.

One dress, multiple occasions

Part of what is making this trend commercially strong is how wearable these pieces actually are. A well-executed tiered maxi dress functions as a complete outfit on its own, no styling complexity required. That versatility is resonating with consumers who want pieces that work hard across their wardrobe, and it makes the category easy to communicate at retail level too.

ZENGGI's take on the trend

Amsterdam-based label ZENGGI offers a strong example of how this trend translates into a concrete product. Their Cotton Voile Layered Dress, is made from 100 percent pure cotton voile and brings together the defining elements of the silhouette: a V-neckline, balloon sleeves, and a three-tier skirt that gives the dress its characteristic sweep and movement.

Available in Black and Spring Green, it covers both a versatile, season-neutral option and a more directional summer colorway. It is a clean, well-considered execution of a trend that has real staying power this season and a useful reference point for understanding where the layered dress category is heading.

In Pictures Salomon is opening its third store in New York City today, as the French outdoor specialist brand continues to push ahead with its growth strategy for North America.

Located on the Upper West Side, near the iconic Central Park, the store spans 812 feet and features clean, modern interiors with natural elements throughout, in reference to Salomon’s mountain sports heritage.

“The opening of our Upper West Side brand store represents another important step in our North America retail expansion plan, " said LeeAnn Fallon, VP of retail, Salomon North America, in a statement. “New York City is where performance meets culture. It’s a proving ground for brand relevance and a catalyst for global growth. The Upper West Side store will be a place for consumers to connect with like-minded people who have a passion for the outdoors and a strong connection to their community.”

In addition, the new store features a dedicated performance section, the largest of all its stores in NYC, which includes its full collection of running apparel and accessories, next to its sportstyle assortment, as the retail location aims to serve the neighborhood’s active running community and local clientele. The opening of the new store coincides with the launch of two new Salomon products launching on May 6, a GRVL Concept Shoe and Pink Pack, both of which are available for sale at the Upper West Side store. 

The GRVL Concept Shoe is a hybrid running shoe that combines the energy return of a road "super shoe" with the grip of a trail shoe. It features a PEBA supercritical foam midsole and dual full-length carbon blades that deliver soft landings, high rebound, and a smooth, propulsive run across mixed terrain. The Pink Pack is a refresh of core Salomon styles, the ACS Pro, Speedcross 3, XT-Whisper, and RX Marie-Jeanne, with a tonal, minimal, and boldly unexpected look.

To mark the opening of the new store, Salomon is hosting a community run at 7 am, where runners can try out shoes and have a sneak preview of the store before it opens at 11 am. The Upper West Side store opening is in line with Salomon’s recent appointment of Laura Stauth, who came on board as senior vice president of sales for its North American division in March.

Stauth’s appointment is intended to accelerate the brand's performance-led business across footwear, apparel, and accessories. Salomon's North American strategy remains focused on leading in performance categories, and strengthening its executive team underlines its commitment to scaling responsibly while serving athletes who demand technical excellence.

In Pictures Lifestyle brand Lilly Pulitzer has partnered with children's wear brand Janie and Jack to launch a limited-edition collection.

The Lilly Pulitzer x Janie and Jack collection features 25 styles for children, women, and men that showcase Lilly Pulitzer's signature vibrant prints and bright colors on Janie and Jack's favored silhouettes. Uniting two iconic American brands, the collection draws on Lilly Pulitzer's heritage of bold colors and print-led design, offering a modern take on coastal family dressing. 

“Lilly Pulitzer has always led with print — using color and pattern to define an American way of dressing," said Mira Fain, chief creative officer of Lilly Pulitzer, in a statement. “This collaboration with Janie and Jack gave us the opportunity to return to our archives and reimagine some of our most iconic prints through a modern, multi-generational lens. By expanding the collection to include babies, boys, and an expansive girls offering — alongside coordinated styles for women and men — we're extending the legacy of Lilly print to an entirely new generation, while keeping the spirit of joyful dressing at the core.”

The collaborative collection includes four prints, three of which are for the entire family. The fourth, On Parade, is exclusive to children and recolours an earlier Lilly Pulitzer print. Much of the capsule collection is designed around ‘Ship to Shore’, an archival print reworked for a fresh, summer-ready take on the brand's coastal aesthetic.

“From the start, we were inspired by the joy and optimism that Lilly Pulitzer prints bring to summer dressing,” said Lexi Tawes, chief product officer at Janie and Jack, in a statement. “Our team looked to Lilly's archives as well as refreshed artwork to create a collection that feels both nostalgic and fresh. By pairing Lilly's iconic prints with Janie and Jack's polished silhouettes, we designed pieces that celebrate coordinated family style — from baby to parents. It's a collection that captures the magic of summer and the special moments families share together.”

The Lilly Pulitzer x Janie and Jack collection is now available for sale at lillypulitzer.com, janieandjack.com, in addition to retail locations from both brands nationwide and select wholesale partners, with prices ranging between 24 and 99 US dollars.

To celebrate the launch of its Summer Resort 2026 selection, Boss is teaming up with Soho House for a two-week pop-up at Miami Pool House from May 1-14, transforming it into Boss Summer Club: an unmissable poolside destination. This will include event activations throughout May across music, wellness, and dining and followed by events at Soho Beach House Miami.

Located on the border of Wynwood and Edgewater, a design district known for its galleries, museums and street art, Miami Pool House’s creative atmosphere sets the scene for a collaboration that showcases Boss’s vibrant Summer Resort selection, alongside its expertise in precision tailoring.

At Miami Pool House, Boss Summer Club will offer a premium, sun‑soaked oasis, where members can discover the Boss way of life in an immersive setting that blends product, styling, and atmosphere. An exclusive poolside branded area will feature a shoppable pop-up with curated product displays, while a dedicated experience space will bring the story of a Boss summer to life. From May 14-31, members can also experience the Boss Summer Club at Soho Beach House Miami, Soho House’s oceanfront outpost in the city, through special events and experiences that further capture the spirit of Boss Summer Resort 2026.

Cultural program highlights across the Houses include a Miami Grand Prix™ kick-off party with Ja Rule, race weekend screenings, and a finale party with Chloé Caillet. Members and guests will also enjoy sets from Walshy Fire of Major Lazer, a One Night Only dinner with Argentinian chef Deborah De Corral, and expert wellness workshops with Case Kenny and Brittany Berger.

This partnership creates immersive, memorable moments of engagement, inviting guests to step into the world of Boss through relaxation, community, and celebration. In Miami, Boss reinforces its position not only as a fashion authority, but as a global lifestyle brand that shapes how Boss fans live and socialize.

The celebration of Boss’s 2026 resortwear launch kicked off on May 3 with an exclusive dinner and after-party at Miami Pool House. Guests, including Boss brand ambassador Aleksander Aamodt Kilde, Mikaela Shiffrin, Chase Stokes, Emilia Mernes. Robbie G.K., June Diane Raphael, Matthew Broome, Greta Onieogou, Antoni Porowski, Delilah Belle Hamlin, and Eva Ruíz. All wore Boss looks for the occasion.

The Boss Summer Resort 2026 selection delivers smart, coordinated looks, premium swimwear, select linen pieces, refined summer tailoring separates, and on-point holiday-ready accessories – a complete wardrobe for sun, city, and everything in between. 

Menswear comes in a cool, modern palette of white, lavender blue, sandstone glow, grey mélange, and grisaille, while womenswear leans into sun-drenched shades of mocha, lavender, white, rose, and brown. Every look is built to meet the dress code effortlessly – looking just as strong on the beach as it does in the city, from poolside to rooftop bar.

Boss and Soho House will continue with their collaboration later this year to provide members unique, only-at-Soho House highlights during key cultural moments and tennis events

The Boss Summer Resort styles will be available at Boss stores worldwide, on the website, and via wholesale partners.

Danish fashion conglomerate Bestseller has announced it is investing 3 million US dollars in the Regenerative Fund for Nature to support regenerative agriculture projects in South Africa’s Eastern Cape.

The funds will be used to support local sheep farmers and shepherds, aiding them with land regeneration and enhancing overall living conditions in South Africa. The Regenerative Fund for Nature was established by Conservation International and Kering in 2021, with Spanish fast-fashion conglomerate Inditex joining in 2023. Bestseller is the latest company to be joining the initiative as a partner.

“The contribution reflects our aim to support the raw material landscapes that are important both for nature, for the people who live off them and for our industry,” said Dorte Rye Olsen, Head of Sustainability at Bestseller, in a statement. “Through the Regenerative Fund for Nature, we participate in a long-term collaboration, where initiatives are developed over time and in close interaction with local actors.”

Conservation International has been working with local partners for several years now in the Eastern Cape to bring back and protect traditional grazing methods that protect the environment while improving living conditions for locals.

“Over the past five years, our work in the Eastern Cape has shown measurable benefits for the shepherds and their land,” said Virginia Keesee, who leads Conservation International's global fashion and nature initiatives. “Bestseller's support will help us spread the impact across the region.”

An Ireland-based watchdog has launched an investigation into Infinite Styles Services Co. Ltd., the Irish arm of Shein, over concerns of its handling of EU customer data.

The Data Protection Commission (DPC) has opened the investigation under the Data Protection Act 2018, and has said it will examine how Shein Ireland transfers personal data of EU and EEA users to China. The DPC will assess whether the company complies with key requirements under the General Data Protection Regulation (GDPR).

The inquiry will focus on three main areas: how personal data is processed under GDPR principles, whether Shein Ireland meets transparency requirements when collecting user data, and whether its international data transfers comply with rules governing transfers to third countries.

The move builds on increasing regulatory attention towards cross-border data flows, particularly in relation to China, which have become a growing focus for European authorities.

Deputy commissioner, Graham Doyle, said: “When an individual’s personal data is transferred to a country outside the EU, the GDPR requires that this personal data is afforded essentially the same protections as it would within the EU.”

Update May 6 2:45pm CEST: Shein has issued a statement to FashionUnited in response to the DPC investigation. ""We take our data protection obligations extremely seriously and are fully committed to complying with the GDPR and all applicable data protection laws. Ensuring the security of our customers' personal data is a top priority for our business.

"We have been actively engaging with the DPC in recent months on our data protection approach, including a number of important ongoing initiatives that reflect our commitment to maintaining the highest standards in data handling. We look forward to presenting that work as part of this process."

Madrid – As part of its sustained commitment to the Spanish and Portuguese markets, Primark's management for Iberia has just announced an investment of over 85 million euros (100 million dollars) in its businesses in both countries. These funds will be used for the refurbishment of part of its current store portfolio and for the opening of new establishments. For Spain, this move also commemorates the 20th anniversary of the chain's operations in the country.

Primark plans new stores in Spain

This is the first new investment in its Spanish operations announced by Primark since completing its last investment programme. That initiative was announced in late 2022 for an estimated two-year period to be completed by the end of 2024. During that time, the fashion chain committed to investments of around 100 million euros for both the renovation and expansion of its stores and the opening of eight new establishments.

Its parent company, Associated British Foods (ABF), has currently initiated a demerger plan that is expected to conclude in 2027. The chain ultimately surpassed these objectives, adding more openings than planned and postponing some initially announced as part of that investment programme. As a result, it grew from 56 stores in Spain at the end of 2022 to 67 after the opening of its store in the Jaén Plaza shopping centre in Jaén last September. It currently operates this number of stores across the country, following the inauguration of a total of 11 new stores between 2022 and 2025.

Expansion in Portugal on the agenda

Meanwhile, regarding Portugal, the chain announced a 40 million euro investment programme in 2024. These funds were also designated for the expansion and updating of its retail network, including one expansion project and four new openings. This is all part of an equally firm commitment to the Portuguese market, where Primark currently operates 13 establishments. This network of stores, like the one in Spain, will be renovated and expanded as a result of this new investment programme. Primark estimates this will help generate more than 300 new direct jobs across the Iberian Peninsula.

“This is a historic moment for Primark on the Iberian Peninsula,” remarked Carlos Inácio, director general of Primark for Iberia. “This investment reflects our confidence in these markets and our long-term commitment to Spain and Portugal. In Spain, as we celebrate 20 years since our first store, we are proud of the connection we have forged with our customers and communities. We are now focused on investing in our existing stores to ensure we continue to offer an exceptional shopping experience for many years to come.” He added, “In Portugal, where the company continues to grow in popularity, we are building on recent momentum to expand our presence and reach new locations.”

Details of the Spain and Portugal retail expansion plans

Breaking down this investment programme, the chain's management specifies that of the 85 million euros committed, 40 million will be invested in Primark's business in Spain. The company first entered the country 20 years ago with the opening of a store in Madrid's Plenilunio shopping centre. It currently operates 67 points of sale and plans to end the year with 68 active establishments following the opening of a new store in the Los Alfares shopping centre in Talavera de la Reina. This will be Primark's second establishment in the province of Toledo. The store will launch as part of this investment programme, which will also see a total of 11 update and refurbishment projects. These will specifically target Primark stores in the Abacenter (Albacete); Puerta Europa (Algeciras); Espacio Mediterráneo (Cartagena); Splau (Cornellà de Llobregat); Miramar (Fuengirola); La Morea (Pamplona); Gran Plaza (Roquetas de Mar); Valle Real (Santander); As Cancelas (Santiago de Compostela); El Boulevard de Vitoria-Gasteiz (Vitoria); and Puerto Venecia (Zaragoza) shopping centres.

In turn, the remaining 45 million euros committed as part of this Iberian investment programme will be allocated by Primark to its business in Portugal. The company is celebrating 17 years of activity in the country. The British-Irish chain plans to expand its store in the Forum Coimbra shopping centre and undertake four new openings. These stores will open in Oporto, Vila Nova de Gaia, Castelo Branco and Setúbal. Notably, this includes the first high street store Primark will open in Portugal, located in the historic Palladium building on Rua de Santa Catarina in Oporto.

“In 2026, it will be 20 years since Primark opened its first store in Spain,” Primark detailed. “To celebrate this milestone, the chain will invest 40 million euros in new and existing stores to ensure its customers continue to enjoy an exceptional shopping experience.” The 11 renovation projects are particularly noteworthy. They “reflect Primark's strategy of reinvesting in its stores to offer the best customer experience” and “will include an optimised spatial layout, refreshed decor and a modern design in line with the latest store concept, as well as the introduction of self-service checkouts.” These same key elements will characterise the investments in Portugal. In this country, Primark will focus on continued growth with the four previously announced opening projects for a market “where the company has been consolidating its presence and building a strong customer base for 17 years.”

This Sunday marks Mother’s Day, a global celebration that honors mothers and mother figures within families and friends as well as motherhood and maternal bonds. Dating back to the early 20th century in the United States, the day has evolved into a national holiday where it's common to give gifts to mothers in consumers' lives. And despite geopolitical tensions and inflation impacting discretionary spending, consumers are predicted to spend a record-breaking 38 million US dollars this Mother’s Day, according to an annual survey conducted by the National Retail Federation.

The number is higher than last year’s total spending of 34.1 billion US dollars and more than the former record of 35.7 billion US dollars set in 2023. “Mother’s Day remains a priority for many Americans, and they plan to lean into the holiday despite current economic uncertainty,” said Mark Mathews, NRF chief economist and executive director of research, in a statement.

“Consumers are gifting from the heart, seeking unique gifts that create lasting memories for the mothers in their lives. It’s an opportunity to recognize what this person has means to you, and retailers are ready to make Mother’s Day extra special for shoppers.” In line with previous years, 84 percent of US adults are planning to celebrate Mother’s Day, with consumers predicted to spend an average of 284.25 US dollars on gifts, more than the 259.04 spent on average in 2025 and the record of 274.02 in 2023. 

According to the survey, 54 percent of those taking part in Mother’s Day plan to buy a gift for their mother or stepmother, 22 percent plan to buy a gift for their wife, and 13 percent for their daughter. The main shopping outlets for Mother’s Day gifts this year were found to be online (33 percent) and department stores (33 percent), followed by specialty stores (29 percent) and discount stores (26 percent).

Flowers remain the most popular gift category, with 75 percent of those surveyed buying flowers, followed by greeting cards at 74 percent, special outings such as dinner or brunch at 63 percent, gift cards at 55 percent, and clothing or accessories at 51 percent. Jewelry is predicted to be the highest spending category for Mother’s Day once more this year, with a total spend of 7.5 billion US dollars. The second largest spending category is special outings  at 6.4 billion US dollars, and electronics at 4.4 billion US dollars. Spending on flowers is estimated to reach 3.2 billion US dollars, while greeting cards are predicted to total 1.3 billion US dollars in spending.

“Consumers are budgeting more and planning on shopping more across all gift categories this Mother’s Day,” said Phil Rist, executive vice president of strategy at Prosper, in a statement. Experiences were also found to be popular Mother’s Day gifts, with a record one-third planning to give experiences like a concert or sporting event. But the overall most important factor for consumers when buying a Mother’s Day gift was uniqueness, with 46 percent of those surveyed saying finding something different was key, followed by creating a special memory (39 percent).

Amazon announced Tuesday it would invest more than 15 billion euros (18 billion dollars) in France over the next three years, creating more than 7,000 jobs, according to a statement sent to AFP.

The investment would support the construction of new logistics sites, the development of cloud and artificial intelligence capabilities, and consolidation of existing networks, Amazon stated.

It marks the online retail giant's largest investment in France to date, the company said, adding to the more than 30 billion euros already invested in the country since 2010.

It will result "in faster deliveries, a wider selection and low prices accessible throughout France, and a reduced environmental footprint thanks to a local logistics network," said Jean-Baptiste Thomas, managing director of Amazon in France, in the statement.

France is the third international market that Amazon entered outside the US, after Germany and the UK.

The British Retail Consortium (BRC) has called on the UK government to act on rising domestic cost pressures, as new polling shows growing concern among consumers over the impact of the Middle East conflict on prices.

Research commissioned by the BRC found that 80 percent of people are worried the conflict will lead to higher food prices, while 73 percent expect the cost of other products to rise. Concern is also mounting around household energy bills, with 81 percent of respondents expecting increases, alongside 76 percent worried about fuel costs.

The warning comes as retailers continue to absorb higher costs across supply chains. Rising gas and electricity prices, meanwhile, are increasing production, shipping and distribution expenses, creating further pressure for businesses already managing higher operating costs.

The BRC said retailers have taken on 6.5 billion pounds in additional employment costs over the past two years due to higher employer National Insurance contributions and increases to the National Living Wage. This is in addition to a 1.6 billion pound packaging tax and further regulatory changes expected under the Employment Rights Act and the proposed Nutrient Profiling Model.

The organisation has urged ministers to address costs within government control, including removing non-commodity energy charges from business electricity bills, delaying implementation of the Nutrient Profiling Model and reviewing overlapping packaging levies.

Helen Dickinson, chief executive of the BRC, said rising global instability was adding to domestic policy costs already facing retailers. She said government action would help retailers manage pricing pressures and support efforts to keep costs affordable for consumers in the months ahead.

Pinterest, the visual discovery engine, has appointed former X (Twitter) executive Greg Owens as vice president of international enterprise sales to drive global growth across EMEA, Latin America, and Asia-Pacific.

Based in Dublin, Owens will report to Lee Brown, Pinterest’s chief business officer, who joined earlier this year to oversee the company’s global monetisation strategy. Owen has been brought on to focus on accelerating revenue from international markets, which currently only represent 25 percent of Pinterest’s total revenue despite more than 80 percent of its active monthly users being based outside of North America.

In its most recent quarterly earnings, Pinterest shared that it has seen 10 quarters of consecutive double-digit user growth, contributing to 631 million global monthly users, with international markets driving revenue growth of 27 percent year-over-year for Europe and 59 percent year-over-year for the rest of the world.

Pinterest believes that there is a "significant growth opportunity" to drive global growth as the company scales its full-funnel advertising platform and shopping capabilities globally.

Commenting on the appointment, Brown said in a statement: “Over the past several quarters, our international business has proven that Pinterest's value proposition resonates far beyond the US market.

“To truly unlock this growth, we need world-class leadership, and Greg’s combination of commercial rigour and international operating experience is exactly what we need for this next chapter."

Owens added: "Pinterest is continuing to establish itself as a leading visual search and discovery platform, particularly for a new generation of users. What energises me most about this role is the opportunity to scale the platform’s monetisation across global markets while helping millions of people find inspiration and take action.

“I look forward to working with Lee and the entire team to deepen our relationships with international partners and unlock the platform's full potential for brands worldwide."

A long-running trademark dispute between Adidas and Thom Browne has moved closer to a conclusion, after a US appeals court upheld an earlier ruling in favour of the luxury label.

In a decision issued on April 29, the US Court of Appeals for the Second Circuit confirmed that the case would not be reopened, backing a 2023 jury verdict which found Thom Browne not liable for trademark infringement.

The case began in 2021, when Adidas accused Thom Browne of infringing its signature stripe trademarks through similar designs used on activewear. A jury later ruled in favour of Thom Browne, and the decision was upheld by a district court.

Adidas sought to revisit the case after obtaining internal emails from separate UK litigation, which it argued showed concerns within Thom Browne about similarities to Adidas’ designs. The company claimed this amounted to new evidence and requested the judgment be set aside.

However, the appeals court has now ruled that the emails were not sufficient to change the outcome of the case. It found that the materials reflected internal opinions rather than evidence of consumer confusion, which is central to trademark disputes.

The court also stated that the emails were not directly related to the products examined during the trial and would not have altered the jury’s decision.

In addition, the court rejected claims of misconduct in the handling of evidence, concluding that any issues were the result of negligence rather than intentional wrongdoing.

US footwear group Genesco has announced the appointment of Ashley Randolph as vice president and chief accounting officer, effective May 5, 2026. Randolph, a 20-year veteran of the company, most recently served as vice president and corporate controller, a position she has held since 2024.

In her new capacity, Randolph will oversee the accounting operations, financial controls, and compliance for the group. Her responsibilities include managing financial statements, accounting policy, and Securities and Exchange Commission (SEC) reporting, while seeking to drive further efficiencies within the function.

Genesco board chair, president, chief executive officer and interim chief financial officer, Mimi E. Vaughn, noted that Randolph is a respected leader whose institutional knowledge and financial expertise have contributed to the success of the company.

“Her proven track record, collaborative leadership style and commitment to excellence position her well to lead our corporate accounting organization as we continue to execute our footwear-first strategy and deliver value for our shareholders,” Vaughn said.

During her tenure at Genesco, Randolph has focused on strengthening the financial foundation and advancing operational effectiveness. This work included leading the adoption of new accounting standards and modernising SEC reporting processes.

Randolph served as senior director of finance and accounting from 2018 to 2024 and director of finance and accounting from 2016 to 2018. She previously held various roles in technical accounting and financial compliance with the company between 2004 and 2014.

Prior to joining the group, Randolph was a senior auditor at Deloitte & Touche. She holds a bachelor’s degree in accounting from Lipscomb University and is a certified public accountant.

Global footwear specialist Wolverine World Wide (WWW) has made a number of new leadership appointments as part of efforts to bolster product innovation and international growth.

Mike Maloney has been promoted to the newly created role of global general manager for the Wolverine brand, a position within the company’s Work Group, which also consists of 1000 Mile by Wolverine, Cat Footwear, and Merrell Work, among others.

In the role, Maloney is tasked with growing the work boot business while accelerating premium positioning and cultural relevance.

Maloney’s former position as chief product officer of the Work Group has been taken up by Ryan Drew, who brings over 25 years of experience in global footwear and apparel to the role. At WWW, he will oversee all product strategies and direction.

Ben Harrison, meanwhile, has been named general manager of Cat Footwear International, having most recently served as general manager of Merrell Canada. With Cat, he will lead the brand’s international business, with a specific focus on accelerating global growth and regional accountability.

In a statement, Justin Cupps, president of the Work Group, said the new leadership structure will allow the WWW arm to move faster and make more intentional decisions to accelerate growth.

Cupps added: “By strengthening how we connect product, insight, and storytelling, we’re positioning the Wolverine brand to build on the trust and credibility it has earned over generations and provide new innovations for how people will work and live tomorrow.”

ModaXpress, the women’s fashion brand and e-commerce retailer that specialises in curve-enhancing apparel and is known for its Colombian-style butt lift jeans, is rebranding with a fresh identity, upgraded e-commerce platform, and expanded product strategy to mark its 20th anniversary.

In a statement, ModaXpress said the rebrand will focus on "evolution, not revolution," designed to modernise the company's identity while maintaining its core focus on body-confident apparel for curvy women.

Founded in 2006 in South Florida, ModaXpress spotted a gap in the denim market when it introduced its Colombian-style butt lift jeans, a staple in Latin America known as levanta cola jeans, which sculpt, lift, and flatter “real women's bodies,” which were near impossible to find through mainstream US retailers.

To mark two decades, the women’s fashion brand is overhauling its visual identity with a new logo system, a refined colour palette anchored by its signature bold pink, and a new typography style designed to balance “high-impact confidence with contemporary sophistication”.

This sits alongside a reimagined shopping experience, with the brand moving to a mobile-first Shopify Plus storefront to match how its customers actually shop. New features include integrated "fit education" on enhanced product pages and an intuitive sizing system based on 20 years of customer body data, as well as a streamlined checkout.

ModaXpress marks 20 years with a new brand identity, shopping experience, inventory shift and expanded distribution

ModaXpress will also be making a shift in its inventory strategy, moving away from static seasonal stock to adopt a four-season campaign framework anchored by themed collections, with weekly new arrivals designed “to keep the catalogue fresh year-round”.

The brand will also be introducing an exclusive premium denim collection, which will be designed and manufactured in Colombia. The collection will include a full range of Colombian butt lift jeans spanning multiple colours, washes, and fits, from high-rise sculpting silhouettes to relaxed everyday cuts. These jeans will be engineered with the brand’s proprietary features, including double-layer waistbands and X-stitch reinforced belt loops, as well as curved back yoke seams for natural lift, studded pocket detailing, and high-stretch recovery fabric.

The goal of the ‘made in Colombia’ range is to distinguish ModaXpress from "fast-fashion imitations" that the brand states have “diluted the category”.

In addition, ModaXpress has expanded its distribution to coincide with its rebrand. Modaxpress.com will remain the primary hub, alongside an expanded presence on Amazon, Shein, Walmart, and TikTok Shops.

Zhanna Agranova, chief operating officer at ModaXpress, said: "Twenty years ago, this company started with a handful of jeans in the back of a retail store and a belief that every woman deserves to feel extraordinary in what she wears without paying a fortune for it.

“No investors. No business plan. Just a product we believed in and customers who showed up. Everything we are today exists because of them. We are celebrating 20 years by making the next 20 even better."

A.P.C. is making a fresh start. The French ready-to-wear brand announced this Wednesday the appointment of Ludivine Poiblanc as artistic director. Her first collections will be presented on May 20 at the Milan showroom, and then on June 15 in Paris on Rue Madame.

Career of an influential voice in styling

Based between Paris and New York, Ludivine Poiblanc has collaborated with publications such as WSJ Magazine, Vanity Fair, Harper's Bazaar and Vogue. She has also advised numerous fashion houses on various aspects, from product development to defining visual identity.

Regarding her new role, Ludivine Poiblanc stated in a press release: “Joining A.P.C. as artistic director and continuing the legacy of Judith and Jean Touitou is a unique opportunity. I have always been drawn to its radical simplicity, an archetypal wardrobe shaped by a discreet sense of dissent and a distinctly French attitude.”

The choice of Ludivine Poiblanc illustrates a major strategic dynamic in the fashion sector: the transition of profiles from editorial styling to the creative direction of brands. Ludivine Poiblanc's expertise in image building meets the need for houses to stand out through precise curation and a coherent visual identity. For A.P.C., whose DNA is based on timeless basics, accessories and denim, the challenge is to consolidate its position in the highly competitive functional wardrobe segment.

Stephanie Phair, president of A.P.C., detailed the objectives related to this integration: “I am delighted to welcome Ludivine for this exciting next chapter at A.P.C. The company is focused on targeted growth by continuing to bring to life what makes A.P.C. unique in the market: its deep heritage in denim and accessories and a ready-to-wear offering that caters to a customer with a point of view.”

Jean Touitou, the brand's founder, expressed his confidence in the new artistic director: “Not only has Ludivine shown her true talent as a stylist throughout her impressive career, but her personality, personal style and spirit make me confident that she will embody the brand I founded in 1987 and write a new chapter in the A.P.C. adventure, respectful of the past and imaginative for the future.”

Madrid – Following a 2025 marked by its decisive international offensive, the Spanish footwear brand Alohas continues on the same path of growth and expansion in 2026. It has inaugurated two new permanent stores in the United States. The brand, founded by Alejandro Porras, entered this market exactly one year ago and now operates with three physical points of sale in addition to its online channel.

Following the opening of its first New York store on May 1, 2025, at 260 Elizabeth Street in the heart of the Nolita neighbourhood near SoHo, Alohas has been well-received by the American public. The Spanish brand celebrated the opening in the middle of that month with a fun launch party featuring beer and churros with chocolate. The footwear brand's management notes that this positive reception has prompted them to further expand their US presence. They have opened a second store in New York City and have also landed on the West Coast with a new, first store in Los Angeles. Both locations opened their doors to the public this past May 1.

More specifically, Alohas' second New York store is located at 400 Bleecker Street. The space is in a predominantly residential area in the heart of the charming West Village neighbourhood, very close to the Hudson River. Here, the brand will share the retail scene with fashion operators such as Buck Mason; sports brand Redvanly; and Danish brand Ganni. For its Los Angeles debut, Alohas has opened its first store at 1410 Abbot Kinney Boulevard in the Venice neighbourhood. This is one of the main shopping areas in this coastal part of Los Angeles, where brands and chains like Intimissimi, Adidas and J. Crew operate. These two new stores will follow Alohas' on-demand model. The chain has successfully translated this model from its digital-native origins to its new omnichannel approach, with physical stores featuring a limited stock of products that serve primarily as try-on models for customers.

“With these openings, Alohas not only expands its physical presence but also continues to redefine the shopping experience, integrating design, technology and sustainability into each of its spaces,” highlighted Alohas' management. “True to its innovative production model,” and like the rest of its points of sale, the new US stores will focus on offering “an experience centred on Alohas' on-demand system.” In the physical environment, this translates into spaces with “a limited selection of product in stock, inviting customers to discover, try on and then receive their purchases at home.” This commercial strategy, they stress, “allows for optimising production, reducing excess inventory and reinforcing the brand's commitment to more responsible and sustainable fashion.”

Reaching 10 stores globally

After closing the 2025 financial year with sales of around 45 million euros, a plus 32.35 percent increase compared to the 34 million euros invoiced in 2024, the two openings are part of Alohas' “ambitious” short, medium and long-term expansion plan. This roadmap includes new openings planned for 2026, although dates and locations have not yet been specified. These openings will add to the 10 monobrand stores the brand now operates in cities such as Amsterdam; Barcelona; Madrid; Copenhagen; London; Los Angeles; Milan; New York (Elizabeth St. and Bleecker St.); and Paris.

In parallel with this physical retail offensive, Alohas is seeking to expand its brand universe through an equally determined diversification strategy. This tactic has materialised in the first few months of 2026 with the launch of new footwear collections. The brand will accelerate this strategy with the launch of a new product category specialising in the design and sale of handbags, scheduled for this May.

The new openings are thus part of Alohas' “ambitious expansion plan,” for which the brand has “new openings planned throughout the year,” the Spanish brand stated. These future new stores, like the new points of sale in New York and Los Angeles, will join “Alohas' international network, which already has a presence in cities such as London, Amsterdam, Barcelona, Paris, Madrid, Copenhagen and Milan.”

Kent State University’s School of Fashion has showcased a growing emphasis on inclusive design and experiential learning through its latest annual fashion show, which drew record attendance and participation.

The student-led event, one of the largest of its kind in the United States, featured collections developed by senior fashion design students as part of their academic curriculum. The show serves as a capstone project, allowing students to apply technical skills, creative concepts and industry knowledge gained throughout their studies in a real-world setting.

Education through practice

At the core of the event is a strong focus on hands-on education. Students are responsible not only for designing garments but also for production, styling and show execution, mirroring professional fashion industry processes. This approach reinforces project management, collaboration and presentation skills—key competencies for entering the workforce.

The 2026 edition placed particular emphasis on inclusive fashion, with collections designed to reflect a broader range of body types, identities and lived experiences. This aligns with wider shifts in fashion education, where diversity and representation are increasingly integrated into design curricula.

Preparing future designers

Faculty members highlighted the importance of embedding inclusivity into design training, encouraging students to consider accessibility, fit and representation from the early stages of concept development. By doing so, the programme aims to better prepare graduates for an evolving industry that demands both creativity and social awareness.

The fashion show also provides students with industry exposure, attracting recruiters, alumni and professionals who attend to identify emerging talent. For many participants, it represents a critical transition point between education and professional practice.

Reflecting changes in fashion education

The event underscores how fashion schools are adapting their teaching models to reflect current industry priorities, including inclusivity, sustainability and interdisciplinary collaboration. By combining creative exploration with practical application, Kent State’s programme demonstrates how fashion education is evolving to equip students with both technical expertise and a broader understanding of design’s social impact.

Jamie Salter, the chief executive of Authentic Brands Group, has said the company is planning to go public soon as it outpaces its five-year goal of achieving 100 billion dollars in sales.

Speaking at the Reuters Momentum AI event, Salter said the target will be reached quicker if “we pull off the deals that we’re currently working on”, which could ultimately result in over 50 billion dollars in sales by the end of the year.

Salter didn’t elaborate on specific details of the IPO plan other than stating he would serve in a different position if the filing went through.

Authentic, the parent company of Dockers and Guess, has previously attempted to go public twice, but had been “bought out for way more than we were going public for”, Salter said.

The company is currently focused on its M&S strategy centred around kids entertainment brands and hospitality, while AI implementation is improving the efficiency of business development efforts.

Rising prices and a strengthening in the performance segment delivered “modest” growth across the US footwear industry in the first quarter of 2026.

Circana’s Retail Tracking Service data show that total US footwear sales increased by 1 percent in Q1 versus the same period last year, while overall units sold declined, and higher average selling prices (ASP) continued to support topline revenue.

The data adds that styles rooted in activity, comfort, and daily wear emerged as the strongest performers, with the performance category outperforming the broader market in Q1, with US dollar sales up 5 percent, supported by both unit demand growth and ASP increases.

Within the performance category, running shoes were the standout in Q1, reporting double-digit US dollar and unit growth, as consumers continue to invest in shoes that support regular movement and wellness routines. Cross-training styles, along with sport-oriented shoes for golf and tennis, also delivered “solid gains” as participation-based activities and hybrid fitness habits continue to influence purchasing behaviour, adds Circana.

In the lifestyle space, running-inspired silhouettes continued to gain share while other sport-inspired segments slowed.

Circana adds that some of this softness was absorbed by casual fashion categories that reflected the emphasis on wearability and comfort. Overall, the fashion segment delivered 2 percent US dollar growth in Q1, supported by higher prices despite declining units. Sandals posted growth in both US dollars and units, led by slides and flip–flops.

Other styles that showed demand included mules, clogs, and ballerinas, while fashion boots continued to decline despite growth in the high-shaft segment, as soft unit demand across ankle and mid-shaft styles outweighed meaningful ASP increases.

Beth Goldstein, footwear and accessories industry advisor at Circana, said in a statement: “Price increases remain a challenge for the footwear industry in 2026, pressuring unit sales, but certain segments are bucking the trend. Categories tied to daily use, activity, and casual comfort proved best positioned to capture consumer spending in Q1.

“As the year progresses and consumers remain selective in their spending, brands and retailers must connect their merchandising and messaging to their customers’ key lifestyle priorities – those that do this well will be the share winners in this slow growth environment.”

The plan, which was already announced in July 2025, now seems to be taking shape. American label Marc Jacobs could soon no longer be part of the LVMH group's portfolio. According to a report by the Financial Times, LVMH is considering the sale of the fashion brand, as well as cosmetics and alcoholic beverage brands, as part of a major restructuring.

In addition to the Marc Jacobs label, LVMH is considering selling its 50 percent stake in Fenty Beauty, the company launched by singer Rihanna. These transactions could bring LVMH billions of euros to reinvest in its business.

The sale of these businesses is part of a cost management policy and comes amid a slowdown in the luxury sector.

“LVMH is clearly reviewing its portfolio to see what is not working, what is weighing on margins, as it is in a period where pressures on the business are greater,” Luca Solca, an analyst at Bernstein, told the Financial Times.

The publication also stated that executives at Moët Hennessy, LVMH's beverage division, are sounding out potential buyers for brands like Eminente rum and the Joseph Phelps vineyards in California, according to sources close to the company.

Last April, the global luxury leader announced a turnover of 19.1 billion euros for the first quarter of 2026, an organic growth of 1 percent. Its Fashion & Leather Goods division, however, recorded an organic decline of 2 percent to 9.2 billion euros.

Marc Jacobs negotiations already broken down

The American brand had already been the subject of negotiations between LVMH and Authentic Brands Group (Reebok, Guess, Forever 21, etc.), but according to several media outlets, the talks fell through. The deal could have brought in around one billion dollars for the luxury conglomerate.

Launched in 1984, the eponymous Marc Jacobs label now boasts 280 stores worldwide and employs 1,300 people. It recently made headlines with a SS26 runway show punctuated with nods to its archives. Furthermore, director and founder's muse, Sofia Coppola, unveiled a documentary at the Venice Film Festival in September 2025, focusing on the creative process of her friend Marc Jacobs.

Danish jewellery brand Pandora is adding a new level of transparency to its Lab‑Grown Diamonds collection by adding the carbon footprint, alongside the traditional measures of cut, colour, clarity and carat.

Pandora is calling the carbon footprint labelling the “fifth C” in reference to cut, colour, clarity and carat, and will share the information on its website.

The Lab-Grown Diamond collection, which is available in the UK, US, Canada, Australia, New Zealand and Denmark, features diamonds grown, cut and polished using 100 percent renewable electricity and set in jewellery crafted from 100 percent recycled silver and gold.

Each diamond has the same optical and physical characteristics as mined diamonds, while carrying a significantly lower carbon footprint, generating around 90 percent less CO₂e than mined diamonds, according to the jewellery brand.

Berta de Pablos‑Barbier, chief executive of Pandora, said in a statement: “Today, people want jewellery that feels beautiful, meaningful and aligns with their values. By introducing a new measure of brilliance, the carbon footprint, we are giving consumers greater transparency about what they are wearing and how it’s made.

“Displayed alongside the traditional four ‘Cs’ (Cut, Colour, Clarity, and Carat) on our website, this fifth ‘C’ empowers people to choose diamonds that express who they are, without compromising on design, quality or self‑expression.”

Pandora first introduced lab-grown diamonds in 2021.

Led by Virgil van Dijk, Sam Kerr, and Hwang Hee-chan, Nike Vision Introduces Zeus Rise and Radeon, Blurring the Lines Between Elite Performance and Stadium Style.

Today, Nike Vision disrupts the eyewear landscape by unveiling its first-ever dedicated brand campaign tailored to the world of football. This high-octane global initiative, set to saturate the culture ahead of this summer’s massive global tournaments, establishes Nike Vision as the definitive lens through which the world sees the beautiful game.

The campaign spotlights the connection between visionary play and technological precision. Headlined by a roster of world-class footballers—Virgil van Dijk, Sam Kerr, and Hwang Hee-chan. This moment is about precision, power, and seeing the game before it happens.

The Collection: A Double Threat

Nike Vision’s campaign focuses on two breakthrough styles that anchor the collection, serving athletes from the pitch to the street:

• Nike Zeus Rise: The peak of high-performance eyewear. Engineered for moments of ultimate focus, the Zeus Rise features Nike Max Optics lens technology to ensure superior clarity and precise vision from all angles. For the first time, this performance beast has been integrated directly into the World Cup Athlete Kits, supporting athletes on the world´s biggest stage.

• Nike Radeon: The embodiment of modern football lifestyle. Blurring the lines between sport and sophistication, Radeon is designed for the modern athlete when off-duty. Combining Nike’s signature sports DNA with a bold, contemporary silhouette, it is the new icon for style makers within the football ecosystem.

Unprecedented Global Saturation:

The campaign marks Nike Vision’s most aggressive marketing push to date, ensuring visibility at every cultural touchpoint surrounding this summer's football peak. The brand is dominating major host cities with massive OOH (Out of Home) presence in New York and Los Angeles.

Along with a comprehensive, high-traffic Travel Retail activation will also secure dominant visibility across global travel hubs, including Milan, London, Barcelona, Tokyo, Rio de Janeiro, and Mexico City.

The Social Activation: Passing the Torch

Nike Vision is leveraging a phased social rollout centered around an elite gifting chain. Ambassadors Virgil van Dijk, Sam Kerr, Hwang Hee-chan, and Eduardo Camavinga will kick off the activation by unboxing premium, personalized Zeus Rise kits. Following the unboxing, each athlete will publicly nominate three other elite footballers to join the chain, creating an organic, athlete-driven momentum that showcases the interconnected nature of the global football elite.

“This isn’t just a campaign; it’s Nike Vision defining how the world sees football,” says Nike Vision. “For our inaugural football brand moment, we are integrating directly with sports marketing and category leads to elevate eyewear within the broader Nike ecosystem. We are saturating every touchpoint to own the conversation during the biggest football moment of the decade.”

Dutch fashion trade show Shift will not be entering the German market this year after all. The event, which was previously moved from late June to early July, has now been postponed to January 2027. The organisation announced the decision in a press release.

“This decision was made to allow for a more structured build-up phase and to further strengthen the foundation of the format. Although the overall response from brands and retailers in the German-speaking market has been positive, it has also become clear that parts of the sector are currently adopting a more cautious, wait-and-see attitude. In this context, Shift is using the extra time to deepen its engagement with key stakeholders, expand its network and further refine the concept,” the statement read.

The organisation also reported that additional concepts and “more commercial formats for the German market are being explored”. Shift was established as a Dutch menswear trade show but announced in late 2025 that it would expand into Germany with the addition of womenswear.

US resale platform ThredUp has announced its financial results for the first quarter ended March 31, 2026, reporting revenue of 81.70 million dollars. This represents a 15 percent increase year-over-year (YoY) as the company achieved a record month for new buyer acquisition.

Gross profit for the period totaled 64.70 million dollars, also reflecting a 15 percent increase compared to the same quarter in the previous year. The company maintained a stable gross margin of 79.2 percent, a slight improvement from 79.1 percent in the first quarter of 2025.

ThredUp CEO and co-founder James Reinhart stated: “We are proud to deliver Q1 out-performance, including a record month for new buyer acquisition. As we look ahead, we remain focused on executing our growth plan amidst an ever-changing consumer environment, and building a marketplace that delivers clear value to buyers and convenience for sellers.”

Net loss and updated outlook

The platform reported a net loss of 6.50 million dollars, or negative 7.9 percent of revenue. This compares to a loss of 5.20 million dollars, or negative 7.3 percent of revenue, for the first quarter last year. Adjusted EBITDA reached 2.70 million dollars, representing 3.4 percent of revenue, down from 3.80 million dollars and a 5.3 percent margin in the prior year.

For the second quarter 2026, the company expects revenue in the range of 89 million dollars to 91 million dollars, representing a 16 percent YoY increase at the midpoint. Gross margin is projected to remain between 78.5 percent and 79.5 percent, with an adjusted EBITDA margin of approximately 5.2 percent.

Looking at the full fiscal year 2026, ThredUp forecasts total revenue between 351.20 million dollars and 356.20 million dollars. This would result in a 14 percent increase YoY at the midpoint of the range. Reinhart and the executive team anticipate full year gross margins to hold steady between 78.5 percent and 79.5 percent, while the adjusted EBITDA margin is expected to reach approximately 6.1 percent.

Berlin-based online fashion retailer Zalando SE has closed the first quarter of the 2026 financial year with a significant increase in revenue and operating profit, as expected. However, negative one-off effects resulted in a significant net loss. In light of the current results, published on Wednesday, the management maintained its annual forecasts.

In the period from January to March, group revenue amounted to just under three billion euros. This corresponded to an increase of 23.8 percent compared to the same quarter last year. The acquisition of the e-commerce company About You last summer played a major role in this strong growth. On a pro-forma basis, revenue increased by 3.4 percent, according to the group. Additionally, “strong revenue growth in the B2B and retail media business” was achieved.

Gross Merchandise Volume (GMV) grew by 21.7 percent to 4.29 billion euros. On a pro-forma basis, it increased by six percent. The number of active customers increased by 18.8 percent year-over-year to 62.3 million.

Operating profit exceeds market expectations

The group also made progress in operating profit during the first quarter. The adjusted earnings before interest and taxes (EBIT) rose by 38.7 percent to 64.8 million euros, exceeding analysts' expectations. The group attributed this largely to synergy effects of ten million euros from the About You acquisition. The company is therefore “on track to achieve the synergy target of 40 million euros for the full year 2026”, according to a statement.

“Our first-quarter results reflect the financial discipline we demonstrated last year,” emphasised chief financial officer Anna Dimitrova. “We promised profitable growth and have delivered once again.”

One-off effects push the group into the red

However, the group had to record high one-off charges. Restructuring costs amounted to a total of 96.8 million euros, resulting mainly from the planned closure of the logistics centre in Erfurt.

The reported loss before interest and taxes was therefore 79.7 million euros, after a positive EBIT of 21.4 million euros was achieved in the same quarter last year. The bottom line was a net loss of 87.6 million euros. In the first quarter of 2025, Zalando had posted a net profit of 9.9 million euros.

Management confirms its annual forecasts

Co-CEO Robert Gentz drew an overall positive conclusion from the past few months. “Our strong first quarter demonstrates the strength of our strategy. We are very pleased with the progress we are making in scaling AI innovations and integrating About You,” he explained in a statement. “Our unique data and infrastructure platform, which we have built over 17 years – including the most extensive fashion-specific data in Europe and the leading European logistics network – is a huge advantage in combination with AI.”

The management maintained its forecasts for the full financial year, especially as the company stated it had observed “no significant operational or financial impact from the ongoing conflict in the Middle East” in the first quarter. Revenue and GMV are still expected to increase by 12 to 17 percent compared to 2025. The adjusted EBIT is expected to reach 660 to 740 million euros.

Kerry Byrne, chief executive officer (CEO) of British luxury brand Belstaff, has announced her departure from the business. Byrne, who has spent over five years at the London-based label, shared the update via LinkedIn, noting she is ready to begin a new chapter after leading the company through a period of significant structural change.

Strategic refocus and financial performance

During her tenure, Byrne navigated a volatile retail landscape characterized by increasing margin pressures over the past two years. Her leadership focused on simplifying operational processes and centering the brand on its heritage and core product offerings. These strategic shifts contributed to meaningful revenue growth and the establishment of cost efficiencies.

Byrne emphasized that the business has built foundations for sustainable growth. “I leave behind an incredibly talented group of people and brand ambassadors who support one another, both personally and professionally, while staying relentlessly focused on results,” Byrne stated.

Career trajectory at Belstaff and beyond

Byrne first joined Belstaff in April 2021 as head of merchandising. Her progression within the company was rapid, serving as trading director and commercial director before being appointed chief operating officer (COO) in August 2024. She took over the role of CEO in April 2025.

Prior to her time at the heritage outerwear brand, Byrne spent nearly nine years at British lifestyle retailer Cath Kidston. There, she held several senior positions, including head of international merchandising and head of global merchandising.

Her extensive career in the fashion industry also includes a long-term tenure at Arcadia Group Ltd. Between 2003 and 2012, Byrne worked within the international merchandising division of the former retail conglomerate, gaining experience that would later define her focus on global commercial strategy.

Future outlook for British heritage label

The departure of Byrne follows a significant shift in the corporate structure of the brand. While Belstaff has been through several owners in recent years, it was acquired in August 2025 by British sportswear company Castore from Ineos for an undisclosed sum. As part of the transaction, the previous owner, Ineos, also took a stake in the parent company of Castore.

Castore has not yet named a successor to the CEO position. The brand remains a key player in the luxury sector, known for its technical expertise and motorcycle-inspired apparel.

As Byrne exits, the industry continues to evolve at pace, requiring leadership that balances traditional brand values with modern efficiency. Byrne concluded her announcement by praising the resilient culture of the team and their ability to find a way during challenging periods for the sector.

US-based fashion retailer Revolve Group has announced its financial results for the first quarter ended March 31, 2026, reporting a 16 percent year-over-year (YoY) increase in net sales to 342.90 million dollars. The company, which caters primarily to Millennial and Gen Z consumers, noted that the performance exceeded the 10 percent YoY growth recorded in the fourth quarter of 2025.

The retailer reported net income of 13.80 million dollars, representing a 21 percent increase compared to the same period in the previous year. Diluted earnings per share (EPS) rose by 25 percent to 0.20 dollars, up from 0.16 dollars in the first quarter of 2025. Adjusted EBITDA reached 21.10 million dollars, a 9 percent improvement over the prior year.

Performance across segments and regions

The Revolve segment generated 293.20 million dollars in net sales, an increase of 15 percent YoY. The FWRD segment outperformed with a 17 percent increase, reaching 49.60 million dollars. International operations showed significant momentum with a 20 percent increase in net sales to 68.90 million dollars, while domestic net sales in the US grew by 15 percent to 274 million dollars.

Revolve co-founder and co-chief executive officer Mike Karanikolas stated that “outstanding execution” within a dynamic environment led to continued market share gains. Co-CEO Michael Mente highlighted progress in longer-term initiatives, including international expansion and the advancement of artificial intelligence technology.

Strategic developments and brand launches

The company recently introduced Revolve Los Angeles, its first namesake label, supported by brand marketing investments. In the beauty sector, the retailer launched Grow-Good Beauty hair care products in partnership with Cardi B. The collection reportedly sold out in less than one hour and has secured more than 640,000 followers on Instagram.

Revolve is also expanding its brick and mortar presence, having entered into a lease for a third retail store in Miami. The location is expected to open by the end of 2026.

Financial position and outlook

The retailer’s balance sheet remains debt free, with cash and cash equivalents totaling 335.80 million dollars as of March 31, 2026.

Looking ahead, Revolve provided guidance for the second quarter of 2026, projecting a gross margin between 54.1 percent and 54.6 percent. For the full year, the company updated its gross margin outlook to a range of 53.5 percent to 54 percent. Net sales in April 2026 have already shown a 14 percent YoY increase, maintaining the positive momentum from the first quarter.

Fashion Weeks in the major fashion capitals concluded a few weeks ago, giving the industry time to process a surprisingly quiet season. In conversation with FashionUnited, Tiffany Hsu, chief buying officer at Mytheresa, reflects on the autumn/winter 2026 season. She explains which trends, collections and runway moments are particularly relevant for Mytheresa.

She also offers insights into how these developments are shaping buying strategy and the balance between brand loyalty, designer influence and data-driven decisions.

The autumn/winter 26 season follows years of numerous premieres and changes, yet it leaves a quiet impression. How do you assess this phase in the fashion discourse?

It was a very interesting season; each city had its own flair. London felt more evolutionary, a collective step towards craftsmanship, clarity and long-term relevance. Milan, on the other hand, marked a new chapter with an atmosphere of recalibration rather than disruptive change.

New York showed a clear shift towards seriousness and sophistication, accompanied by almost meditative, creative imagery. Paris, in turn, felt very energetic and romantic, conveying a renewed sense of femininity.

Which collections or runway moments from the season were particularly memorable and significant for you?

Prada's presentation concept was a highlight! The simplicity of the concept gave it enormous power, making Prada one of the most talked-about brands of the season once again.

My favourite collection was Bottega Veneta under Louise Trotter, which impressed with an architectural approach, merging femininity with brutalism to create a desirable collection. Another of my favourites remains Saint Laurent, which presented a vision of modern elegance, combining restraint with the brand's identity. Of course, one must not forget the Chanel bags and Maria Grazia Chiuri's reinterpretation of the Fendi Baguette!

Which of the season's trends are genuinely wearable and relevant for Mytheresa, and which will remain purely runway statements?

Gothic romance, seen in many collections, will endure, as will precise tailoring and statement outerwear. The sharper silhouettes lend a sophisticated ease to the wardrobe, making it look relaxed yet elegant. I saw a lot of statement outerwear with added texture or in strong silhouettes.

One trend that I believe will not last is utility. The trend feels a bit tired as silhouettes become more refined and proportions evolve. It therefore seems less relevant and will not have long-term significance.

How do you perceive the shift from bold, spectacular statements to more functional and subtle fashion, especially in the luxury segment?

There is a definite move towards a more understated look, with a focus on well-tailored garments and texture. Calvin Klein Collection returned to the runway last year with its clean, polished aesthetic, and Khaite is known for its refined silhouettes. Its collections continue to strike the perfect balance between clean tailoring and depth through texture.

People are now relying more on accessories to bring personality and individual accents to an otherwise minimalist look.

How would you describe the current mood and expectations of your customers?

There is a desire for pieces that allow our customers to inject personality into their outfits, whether through accessories, textures, proportions or unexpected details. The demand for individuality and standout pieces has grown and become more pronounced, while the overall look has become simpler and more refined.

While the runways are already focused on autumn/winter, summer is just around the corner. Which styles are currently in high demand?

The main trend this season is playing with proportions. We are seeing many structured shoulders and accentuated hip details that emphasise the hourglass silhouette. Dropped waists on summer dresses are also becoming increasingly popular. For trousers and skirts, micro-minis are making a strong comeback, whether in skirts or shorts.

Many houses have recently undergone creative leadership changes. Do Mytheresa customers remain loyal to a brand or to the individual creative director?

Both. Some customers are fans of specific designers and follow them from house to house, while others remain loyal to the brand, regardless of who is at the creative helm.

Which designers or brands are currently the focus of your buying decisions?

The narrative of Khaite really resonates with our customers. It combines simplicity and sensuality and is a true masterpiece of controlled self-assurance. Christen by Nina Christen is also an outstanding brand. Her shoes combine meticulous craftsmanship with modern, flattering silhouettes that are instantly desirable. She has an intuitive understanding of what contemporary women want to wear.

What is the focus for accessories?

For accessories, we are increasing our buy in shoes, as we have seen many elevated evening and occasion shoes this season. Together, these categories allow us to build a compelling, fashion-forward assortment for our customers.

How do you rate young talent compared to established houses for Mytheresa? Does risk-taking play a role, or is stability the current priority?

Although we are always scouting emerging talent, few brands are currently able to operate at the scale of our platform. We therefore introduce new names deliberately. We are still navigating the aftermath of last season's creative leadership changes, so this is always a matter of careful consideration.

Have budget allocations or buying strategies changed recently, and if so, where are you investing more and where are adjustments being made?

We are investing significantly more in ready-to-wear, as it is one of our key growth drivers. This is particularly true for elevated, statement pieces that anchor an outfit, such as cocktail and evening wear, as well as statement outerwear.

Our customers build their wardrobes purposefully and buy many ready-to-wear pieces. We are therefore focusing our buying on this and do not plan to deviate from it.

What role do data, digital engagement metrics, social media reactions and AI insights play in evaluating trends and customer interest, and how much do you rely on your personal intuition?

Knowledge of upcoming trends is an important factor in our decisions, but we also use past data to navigate the selection. We need to closely monitor what is happening in the market and what is being worn on the street, for which social media can of course be helpful.

Our great personal shopping team also supports us by passing on customer feedback, which is always very valuable.

You are also responsible for exclusive collaborations and capsule collections with certain brands at Mytheresa. How do these fit into the company's overall strategy?

When working on exclusive capsule collections, we naturally always have our customers in mind. We know our customers very well and understand what they like and want to buy. We are therefore happy to set certain parameters for the collection, while remaining true to the brand's DNA. Overall, we are heavily involved, but not in the design process itself.

This interview was conducted in writing.

Commentary

Fashion has always been about seduction, desire, belonging and differentiation. Aura, as people much younger than me call it. We covet a look, a feeling, a style, a lifestyle. This desire is triggered by inspiring people on social media, catwalks, in pop culture, advertising and within our circle of friends.

The sources of this desire have always been diverse. They range from glossy images to the cool guy in the bar last night wearing that amazing suede jacket. While the sources of desire are varied, the recipient has always been the same: a human being.

This very certainty is now dissolving. AI agents are increasingly becoming an additional intermediary between the brand and the purchasing decision. Already, half of all users make purchasing decisions with the help of generative AI (Accenture study, 2025).

Desirability for algorithms

This is just the beginning. Today, artificial intelligence (AI) recommends; tomorrow, it will buy for us. Personal agents, trained on a person's life, budget and taste, will become fundamental gatekeepers for comprehensive purchasing decisions. This leads to a radical shift in communication, from AI as a channel to AI as a target audience. How do you create desirability for something that cannot feel desire?

For a long time, the decisive factor was whether a look was presented desirably. Can a machine even read, classify and recommend desirability? Fashion thrives on suggestion, context, codes and references. Assistants, on the other hand, reduce ambiguity to structured comparability: colour, price, material, occasion, silhouette, delivery time, reviews and return policy.

Fashion brands have learned SEO, then thought social-first, then optimised performance. Now they must learn how to become recommendable in intelligent recommendation systems, not just rationally but also emotionally.

Agents reward clarity, not aura. Platforms like Google's Shopping Graph now process more than 50 billion product listings. They primarily structure fashion using objectifiable features such as price, reviews, colour options and availability. Those who remain semantically vague may not become invisible, but they will become interchangeable. This quickly makes them irrelevant in the recommendation chain.

This shifts the focus. It is not just products, but the brands behind them that must be machine-readable. This means a translated aesthetic that is so clear and structured that an assistant can not only find it but also distinguish it from ten similar offerings.

Machine-readable marketing

This requires a rethink far beyond marketing. Brand management is becoming a data and structure discipline. The question is no longer just what a brand looks or sounds like, but how consistently it exists on machine-readable levels. Product data, image contexts, description logic and categorisation are becoming part of the same brand architecture. What was once considered backstage is now becoming the brand's visible stage.

This also shifts the organisational logic. Brand, content and e-commerce no longer operate in separate worlds of inspiration and conversion. Instead, they work within a shared system of meaning and decision data. Inconsistency not only jeopardises brand perception but also its recommendability.

This is precisely where the new competition lies: no longer just for human attention, but for machine-readable consistency.

Fashion remains a profoundly visual medium. However, in the future, images will increasingly be evaluated by non-human eyes: as a search signal, a matching criterion and a style reference.

Two target audiences: human and machine

Pinterest is expanding its visual search in womenswear because shopping often starts with a “vibe”, not the right search term. This is precisely where the disconnect occurs. Campaign images that only convey a mood are too vague for AI systems. In contrast, images that make it machine-readable why a look is special become effective: proportion, styling, movement, proximity to the body and occasion.

Anyone who does not proactively steer the AI perception of their own brand will become indistinguishable from the rest. Maximum comparability, minimal distinctiveness. Rationally efficient, but creatively destructive. An assistant can compare price and material. It can only recommend a brand, however, if it creates a clearly identifiable difference. Signature style, attitude, origin, craftsmanship, community, collaborations, cultural relevance. Everything that makes a product more than just a list of features.

Perhaps the shift is not so great after all. The core task remains the same: be a clearly defined brand. The only new thing is that this is for two target audiences: for the human who feels, and the machine that sorts. Anyone who only masters one of the two will be struck from the list.

Amsterdam - At the Met Gala, where 42 million dollars were raised for the Costume Institute last night, ten million more than last year, attention is also a prize. During the 76th edition, designer Iris van Herpen and artist duo A.A. Murakami emerged as winners. In New York, they unveiled the 'Airo Dress' worn by muse and athlete Eileen Gu, one of the guests at the fashion ball. The freestyle skier made history during the Beijing 2022 Winter Olympics by winning three medals. In February, she repeated the feat at the Milan Cortina games.

15,000 bubbles

The 15,000 iridescent glass bubbles that make up the dress were first hand-moulded and then attached to the bodice with UV light. The creation required 2,550 hours of work over a period of 15 weeks by a team of specialists in couture, science and computational design.

During the evening on the red carpet, fresh bubbles also emerged from under the dress. These were powered by microprocessors hidden beneath the skirt, which pressurise the gas and release the bubbles silently. This system is the work of A.A. Murakami, the duo of Alexander Groves and Azusa Murakami, who work between London and Japan with ephemeral materials like steam and light. For the first time, they have applied their knowledge to a wearable garment.

Fashion is art

The dress fitted the gala's theme, 'Fashion is Art'. For the Costume Institute, as was evident from the outfits on the red carpet last night, this theme is primarily about the body. It explores the body as it is, or as it could be, by emphasising or distorting certain parts. The cloud-like effect of the bubbles blurred the defined lines of Gu's athletic body, giving her a mystical aura. She almost seemed to vanish into space.

"The bubbles reflect the anatomy of the human body, which is composed of 99.9 percent empty space, and show the nature of the body as a dynamic field of matter and energy," said Van Herpen herself.

Biocouture

The Wamel-based couturier is now known as a pioneer who constantly fuses fashion with innovative technologies and natural principles. For her previous viral creation, a luminous dress made of living algae, she collaborated with bio-engineer Chris Bellamy and biophysicists from the University of Amsterdam (UvA). In her solo exhibition at the Kunsthal in Rotterdam, a sample of bubbles was already on display from the 2026 collection, Seijaku. This is a Japanese term that also describes the Airo dress: 'calm in chaos' or inner peace.

The message for the fashion industry is that experimental technology is beginning to find its place in haute couture. It also shows that the general public, despite prevailing luxury fatigue, is open to this type of wearable art.

Berlin - The economic crisis is having serious, and for many, existential consequences for companies in Western Europe. According to the credit agency Creditreform, the number of corporate insolvencies rose last year to its highest level since records began in 2002. In 2025, a total of 197,610 insolvencies were recorded, an increase of 4.8 percent year-over-year. This marked the fourth consecutive increase.

“The crisis is not just cyclical, it is structural. Weak global trade and geopolitical risks are putting pressure on European companies,” said Patrik-Ludwig Hantzsch, head of economic research at Creditreform. At the same time, high energy prices and bureaucracy are hampering the competitiveness of many companies, especially compared to the US and China. “This double burden is eating away at the core of many businesses.” A further increase in cases is expected this year.

According to Hantzsch, the level of insolvency in Western Europe is higher than after the 2008/2009 financial crisis. The numbers have risen significantly in recent years. Although the momentum has recently slowed somewhat, experts report the situation remains at a high level.

Europe is increasingly diverging

Last year, the number of corporate insolvencies increased in most Western European countries. The increase was particularly sharp in Switzerland (+35.3 percent). According to Creditreform, this is mainly due to a change in legislation at the beginning of 2025. The enforcement of public-law claims has reportedly been tightened, which lowers the de facto threshold for bankruptcy.

An above-average increase in insolvencies was also recorded in 2025 in Greece (+24.4 percent), Finland (+12.1 percent)and Germany (+8.8 percent). In Germany, just over 24,000 cases were recorded, the highest level since 2014.

In contrast, a decrease was recently registered in six countries, including the Netherlands, Ireland and Norway. “Europe is increasingly diverging, and the economic weakness of the central industrialised countries is a burden for the entire continent,” said Hantzsch.

The picture is different for insolvency rates. Luxembourg leads the ranking with 243 insolvencies per 10,000 companies, followed by Switzerland (197) and Denmark (168). The rates are lowest in Greece (three) and the Netherlands (13). Germany is in the middle of the range with 77. However, the significance of this is limited.

Service sector most affected

According to Creditreform, the figures are only comparable to a limited extent. The insolvency laws of the countries differ considerably in some cases. Company closures cannot always be handled through formal insolvency proceedings. In addition, there are often multiple and differing statistics on the number of existing companies.

Insolvencies have recently developed with varying momentum across the main economic sectors. The increase in cases was more pronounced for service providers (+8.7 percent) and in the manufacturing sector (+3.6 percent) than in the retail and hospitality sector (+3 percent) and the construction industry (+0.1 percent).

The crisis is no longer limited to industry, said expert Hantzsch. Weak consumer sentiment and persistent price pressure are particularly affecting consumer-facing sectors. The majority of corporate insolvencies in 2025 were again in the service sector, accounting for a share of just over 43 percent.

In Central and Eastern Europe, the number of insolvencies has recently fallen. Experts see this as a catch-up effect following the Covid-19 pandemic. The level of insolvency remains high in many sectors.

Paris - French fashion designer Marine Serre has created an exclusive autumn/winter 2026 capsule collection for the Louvre Museum. Inspired by the Mona Lisa painting, the creative concept is based on upcycling.

Marine Serre first met the museum's team and initiated this collaboration during the inaugural Louvre dinner in 2025, where she was a guest.

On Tuesday, March 3, 2026, after forgoing a traditional runway show for her autumn/winter 2026/2027 collection, Spanish actress Esther Exposito wore a sheath dress. The garment was crafted from hundreds of makeup brush heads, individually assembled by Marine Serre's team. This creation was part of a five-piece haute couture series named The Grace of Time, inspired by the Louvre.

Upcycling or the art of working on the archaeology of clothing

The exclusive three-piece capsule reinterprets the Mona Lisa in the house's spirit of reuse and regeneration. It involves cutting, assembling, reprinting and reassembling archival products from the Louvre.

Souvenir T-shirts and medals are reimagined and brought back to life, playing with the icon's status and Marine Serre's signature “All-Over-Moon” lunar motif.

The capsule includes an upcycled baby-fit T-shirt (410 euros), a short-sleeved round-neck T-shirt (150 euros) and a gold-plated keyring (130 euros).

The objective of this collaboration is twofold: To celebrate and bring to life the creative dialogue between Marine Serre and the Louvre Museum. This is achieved by reinterpreting the Mona Lisa, a major museum icon, through the language of upcycling—reuse and regeneration—which is characteristic of the Marine Serre house. And also to transform a static work of art, the Mona Lisa, into a living material integrated into everyday clothing and objects. This allows a masterpiece of art history to become part of daily life.

The Marine Serre x Louvre Museum capsule is available for purchase at the museum, where it is displayed in showcases.

Marche-based company Elisabet has signed a licensing agreement with Elie Saab for the design, production and worldwide distribution of a girl's footwear line, debuting with the spring/summer 2027 collection.

“This partnership reflects a clear strategic desire to develop and expand the childrenswear category, strengthening Elie Saab Kids as a complete lifestyle proposition, including footwear. The agreement supports our long-term vision for this segment. It is based on a solid collaboration founded on proven expertise," Elie Saab Jr., vice chairman and ceo of Elie Saab, emphasised in a note.

The first collection will be presented for spring/summer 2027 through a global network of boutiques and authorised retailers.

“Collaborating with Elie Saab means engaging with a brand characterised by a strong and recognisable aesthetic. Our goal is to translate this identity into the kids' footwear segment, through a careful balance of design, quality and attention to detail. This project allows us to further express our manufacturing know-how within a coherent and high-profile creative context," added Lara Vallasciani, ceo of Elisabet.

French sportswear brand Le Coq Sportif has decided to close its Spanish operations after its subsidiary in the country filed for bankruptcy. According to Modaes, the Spanish company has liabilities of around 2.5 million euros (2.69 million dollars), which has led to the cessation of its direct activities in the market.

The closure affects a workforce of around 25 employees, who are part of a collective redundancy plan. The brand, which previously had a presence in key Spanish retail locations, had already reduced its footprint to just two outlet stores, located in Viladecans and San Sebastián de los Reyes.

This withdrawal coincides with the insolvency proceedings faced by the French parent company in 2024, shortly after its high-profile role as an official supplier for the Paris Olympic Games. The company managed to avoid collapse thanks to the intervention of a consortium led by French-Swiss entrepreneur Dan Mamane, which prevailed over other bidders in court.

Looking ahead, Le Coq Sportif has not ruled out maintaining its presence in Spain through an agreement with a distribution partner, although no contracts have been signed yet. The group's next phase will be managed by a team led by Alexandre Fauvet, a former Lacoste executive, who will oversee the restructuring and redefine the strategy for the historic rooster brand.

Khy, the fashion label founded by Kylie Jenner in 2023, is evolving from its collaboration model into a “wardrobe-first” fashion brand under a new design vision centred around “design, material and method”.

In a statement, Jenner said her eponymous brand will shift beyond seasonal drops, such as latex pieces with London-based Poster Girl, corseted dresses from Dilara Fındıkoğlu, and sculptural puffer jackets with Entire Studios, into a label that prioritises “well-crafted staples that transition fluidly across seasons”.

The focus will be on “building a complete wardrobe that is made to last, with careful construction and premium materials,” added the brand. Fans can expect foundational pieces “designed with intention,” rooted in classic silhouettes that offer a “twist in material, proportion, or detail that sets every item apart”.

Commenting on the relaunch, Jenner, founder and creative director of Khy, said: “With this next chapter of Khy, we’re prioritising intentional design that reflects what our audience really wants for their wardrobe.

“I wanted our assortment to feel really curated, with pieces that you come back to over and over again. Khy is about empowering you to embrace every side of your style, and I’m so excited to introduce these new collections that are truly special.”

The new-look label launches with a ‘Born in LA’ collection, featuring wardrobe essentials, such as a jersey layered maxi dress, embellished T-shirts and denim, along with fleeces, priced between 70 and 470 US dollars, in sizes ranging from XXS to 4X.

To support the relaunch collection, Khy has also refreshed its official website, creative direction and social media presence. The website changes have been based on consumer feedback to ensure the e-commerce site is more accessible, intuitive, and user-friendly, to ensure a seamless journey from discovery to checkout.

A new global platform for horology called The Escapement is being launched “for collectors, by collectors,” with the inaugural event in November positioning Abu Dhabi as “a new global capital for collectable watch culture”.

Taking place from November 20 to 22 in Abu Dhabi, The Escapement is moving beyond the traditional trade show format to create a cultural destination for watch enthusiasts, by bringing together collectors, watchmakers, and founders for a three-day programme of conversations, masterclasses, cultural performances, global music performances and exclusive unveilings.

Conceived by horology enthusiasts, including co-founder Anish Bhatt, The Escapement will introduce a new format that prioritises storytelling, craft and shared experience over transactional product launches, positioning watchmaking “as a living culture” that intersects with art, design, and music.

The venue location will be unveiled in June, but organisers have already signed up high-profile watch brands including Louis Vuitton, Chopard, Greubel Forsey, Rexhep Rexhepi, Biver and Romain Gauthier.

Commenting on the launch, Bhatt said: "Collectors have always been the people who give horology its meaning, yet the formats through which watches are presented rarely reflect how collectors actually engage with them.

“The Escapement was created to change that, to build a platform from the collector's perspective, where watches are understood not just as objects, but as stories, craft and culture."

The event's programming centres on the collector's experience, inviting guests to connect with watchmakers and industry leaders through small-group discussions, curated showcases, and hands-on masterclasses, to explore the technical, philosophical and creative decisions behind modern watchmaking.

The event also promises global-first unveilings with Abu Dhabi-exclusive timepieces, alongside a “day-to-night format” with live performances and creative programming.

On signing up for the inaugural event, Michel Nydegger, chief executive of Swiss watch manufacturer Greubel Forsey, said: "Greubel Forsey has always been dedicated to pushing the boundaries of watchmaking while remaining deeply connected to the collecting community. The Escapement offers a setting where that relationship can flourish: where we can share our ideas and our passion with the people who care about them most."

Amazon announced on Monday the launch of a logistics service independent of its e-commerce platform, a move set to shake up the major players in the sector. Having initially relied on transport and delivery specialists, Amazon has gradually developed its own supply chain since the mid-2000s to better control its costs. Today, the Seattle-based group owns a fleet of tens of thousands of vans, more than 80,000 truck trailers and 100 cargo planes.

It also controls a network of more than 350 logistics centres globally and can manage the transport of goods from the point of production to final customer delivery anywhere in the world. Until now, this system was entirely dedicated to products sold on its e-commerce platform.

By creating a new subsidiary, Amazon Supply Chain Services (ASCS), the group is now offering its infrastructure to all businesses. "The supply chain is not just a function within Amazon, it is essential to an exceptional shopping journey," said Peter Larsen, vice president of ASCS, quoted in the press release.

"We believe we can offer the same cost optimisation, reliability and speed to Amazon's customers," he affirmed. ASCS already has several clients, including hygiene products specialist Procter & Gamble and industrial conglomerate 3M. This strategic development places Amazon in direct competition with the heavyweights of the letter and parcel delivery industry.

London-based luxury fashion label Ducie, known for its high-end outerwear, has appointed former Perfect Moment executive Julie Robinson as brand and growth director.

In a statement on LinkedIn, Ducie said that Robinson will work closely with founder Ducie Keam-George to accelerate growth, strengthen global positioning and expand opportunities for the brand across digital, wholesale and partnerships.

Robinson, who was most recently brand director at Perfect Moment, has more than 20 years of experience across fashion, beauty and entertainment, and Ducie states that her understanding of the ski and outerwear space comes at a “natural moment” for the brand as it continues to evolve its world of faux fur, shearling and statement outerwear.

“At Ducie, we have always believed a coat is more than a coat. It is about how it makes you feel,” explained the brand on LinkedIn. “Julie is known for shaping brands through a clear creative lens, connecting product, storytelling and community in a way that feels both considered and commercially strong.”

Founded in 2004 by Keam-George, Ducie has evolved from a popular stall at London's Portobello Market into an internationally recognised label, attracting celebrities such as Hailey Bieber, Lady Gaga, Jennifer Lopez, and Kate Hudson as fans.

Copenhagen-based menswear brand NN.07 has reported a “strong” 2025, as the momentum it has built over the past years continues to show across all markets.

In a statement, NN.07 said sales increased by 18 percent in 2025, compared to 2024, while adjusted EBITDA came in at 7 million euros, despite what it calls a “demanding cost environment” and its continued investments in international expansion.

Anders Rahr, chief executive of NN.07, said: "What makes us proud is that this result is not driven by one thing. It reflects the strength of the team, the product, our partners and the brand momentum we are seeing.

“The momentum we have been building is starting to show. We are still early in our international journey, and the focus remains the same: building a global brand city by city and creating future classics that people come back to.”

NN.07, which stands for No Nationality, was founded in 2007 and has become known for its premium, wearable staples, including the ‘Simon 1000’ chino that helped launch the brand, as well as the ‘Theo’, a durable cotton-blend twill chino, and the ‘Gael’ jacket that Jeremy Allen White wore as Carmy in the TV show The Bear.

It has built on the buzz of what it calls its “future classics,” to expand internationally in key markets, with branded spaces and flagship stores in cities such as Copenhagen, London and New York, strengthening the brand’s global presence.

Alongside its freestanding stores, NN.07 is also available in more than 600 premium retailers worldwide, including Harrods, Harvey Nichols, Liberty, Nordstrom, Bloomingdale’s, Fred Segal, Printemps, and Mr Porter.

Italian fashion house Falconeri has opened a 2,000-square-foot flagship in New York City as it continues to drive its “Cashmere Revolution” expansion strategy across the US.

Located at 764 Madison Avenue in New York City's Upper East Side, the flagship marks the second of Falconeri's new store concept in the US, shifting toward more immersive, tactile brick-and-mortar experiences, as it looks to reintroduce the brand to the American market.

The retail concept aims to offer an “intimate environment where guests can fully engage with the exceptional softness of Falconeri cashmere,” explains the brand in a statement, with a softer material palette and a warmer, more inviting atmosphere, contrasting Falconeri’s natural fibre garments alongside recycled metal structures and wooden elements to echo the softness and purity of its collections.

Other highlights include a new 'library' feature, offering customers a place to sit, relax, and "enjoy a quiet moment from the energy of the city".

Falconeri, founded in 2000, has been part of Sandro Veronesi's Oniverse group since 2009, and operates in 29 countries worldwide, with more than 200 single-brand boutiques and new openings planned for 2026, as it believes that physical retail remains central to the cashmere experience, as luxury consumers are increasingly seeking meaningful, tactile experiences.

Sandro Veronesi, president of Oniverse, said: "These spaces allow us to offer a truly immersive experience, inviting customers to touch the fibres, feel the quality, and appreciate the craftsmanship firsthand.”

The Madison Avenue flagship aims to bring “Italian craftsmanship closer to the American consumer,” adds the brand, building on the success of its existing Manhattan locations in SoHo and Flatiron.

Additional store openings are scheduled throughout 2026, with Santa Clara’s Valley Fair, Michigan Avenue in Chicago, in June, and Boston's Prudential Center in September to bring Falconeri’s US stores to seven retail locations by the end of the year.

The Metzingen-based fashion group Hugo Boss AG suffered significant declines in sales and profit in the first quarter of the 2026 financial year. Management attributed this to the challenging environment and the “targeted refocusing of brands and distribution channels” as part of its ongoing ‘Claim 5 Touchdown’ reform programme. The results, which the company published on Tuesday, were nevertheless above analysts' expectations.

“Following our successful final quarter in 2025, we started the new year with a clear roadmap,” explained CEO Daniel Grieder in a statement. “The market environment has become more challenging over the course of the first quarter as a result of recent developments in the Middle East. Against this backdrop, we have consistently focused on what we can influence and have resolutely entered the implementation phase of ‘Claim 5 Touchdown’.”

The group has made “tangible progress in the targeted refocusing of our brands and distribution channels, including streamlining our product ranges and further sharpening our global sales presence,” said Grieder. These measures have, as expected, been reflected in the sales performance.

Group sales shrink by nine percent

Group sales reached 905 million euros in the period from January to March, a decrease of nine percent compared to the same quarter of the previous year. Adjusted for currency effects, revenues shrank by six percent.

Sales for the main brand, Boss, fell by seven percent (currency-adjusted -3 percent) to 779 million euros. “While key brand initiatives continued to support the brand's overall momentum, performance was significantly impacted by strategic measures to strengthen long-term brand value, particularly in womenswear,” a statement said. “At the same time, menswear proved more resilient during the quarter, driven by casualwear-focused ranges.”

The Hugo label recorded a decrease of 23 percent (currency-adjusted -21 percent) to 125 million euros. According to the company, one reason for this was the “continued strategic realignment of the brand” with a “clear focus on sharpening the brand identity around contemporary tailoring.”

Revenues decline in all market regions

The group suffered sales declines in all market regions. In the EMEA region, which includes Europe, the Middle East and Africa, revenues fell by ten percent (currency-adjusted -8 percent) to 568 million euros. According to the company, this was due to declines in key markets such as Germany, France and the UK. This was a result of “continued subdued consumer sentiment” and the impact of “targeted measures to improve distribution quality.” The group explained that in the Middle East, the effects of the Iran war became noticeable from March onwards, following a “solid start to the year.”

In the Americas, sales decreased by 11 percent (currency-adjusted -5 percent) to 188 million euros. In the Asia-Pacific region, they shrank by six percent to 123 million euros. On a currency-adjusted basis, however, they exceeded the previous year's quarter by one percent. “Drivers were the return to growth in China and further sales improvements in Southeast Asia & Pacific, supported by robust development in Japan,” the company announced. Global licensing revenues remained constant at 26 million euros.

Management confirms annual forecasts

The group was able to increase its gross margin to 62.5 percent, compared to 61.4 percent in the prior-year quarter, while simultaneously reducing operating expenses. Nevertheless, earnings fell significantly due to the decline in sales. The operating profit (EBIT) shrank by 42 percent to 35 million euros. The net profit attributable to shareholders fell by 52 percent to 17 million euros.

In light of recent developments, management confirmed its annual forecasts. A currency-adjusted sales decline in the mid to high single-digit percentage range is still expected. For EBIT, which reached 391 million euros last year, the target range is between 300 and 350 million euros.

In the absence of Omaha Fashion Week, students from Metropolitan Community College (MCC) and University of Nebraska–Lincoln (UNL) are taking the lead in creating a new platform to showcase young design talent.

The upcoming runway event, organised by students and faculty, highlights how fashion education institutions are stepping in to provide real-world opportunities when traditional industry platforms are unavailable. By hosting their own showcase, the schools are ensuring that graduating designers still gain critical exposure to audiences, peers and potential employers.

Education beyond the classroom

The initiative reflects a broader shift in fashion education toward experiential learning. Students are involved in every aspect of the show—from concept development and garment creation to production and event management—mirroring professional industry environments.

For both MCC and UNL, the runway serves as an extension of the classroom, allowing students to translate technical skills and creative ideas into finished collections presented in a public setting. This hands-on approach helps bridge the gap between academic training and industry expectations.

Creating alternative pathways

With the temporary absence of Omaha Fashion Week, the student-led showcase also underscores the importance of alternative platforms within fashion education. Faculty and organisers emphasise that such initiatives are not only stopgap solutions but valuable opportunities for students to take ownership of their work and build confidence in presenting it.

The event provides participants with portfolio material, networking opportunities and practical experience—key elements for launching careers in an increasingly competitive global fashion industry.

Supporting future designers

By stepping into the role traditionally held by major fashion events, MCC and UNL demonstrate how educational institutions are becoming more proactive in supporting emerging talent. The showcase reinforces the idea that fashion education is not limited to design skills alone but includes entrepreneurship, collaboration and adaptability—qualities essential for the next generation of designers.

Italian outdoor brand CMP, part of the F.lli Campagnolo group, has named Fred Gregarek as its European sales director for footwear and gear to expand its international reach.

Gregarek, who has experience in international sales in the footwear, outdoor, and accessories markets, has been brought on to expand CMP’s presence in Europe and will be responsible for sales throughout the region, excluding the Italian domestic market, which will continue to be managed directly by the parent company, F.lli Campagnolo.

His focus will be on growing existing markets, opening new sales channels, and strengthening long-term partnerships with retailers and distribution partners.

Fabio Campagnolo, owner of CMP, said in a statement: “We are very pleased to have secured Fred Gregarek, an experienced and dynamic leader, for this key position. His expertise will play a decisive role in consolidating our presence across Europe.

“With a solid retail network and a strong growth trajectory, we have an excellent foundation, and in Fred, exactly the right person to unlock this potential further.”

Gregarek added: “CMP stands for technical performance, wearability and authentic outdoor spirit. The partnership approach is of particular importance to me: the focus remains consistently on delivering success together with our partners, a mindset shared by the entire team.”

Founded in 2010, CMP is backed by the 70-year manufacturing heritage of F.lli Campagnolo, and combines technical performance, everyday comfort, and certified materials across apparel, footwear, and accessories for every outdoor moment, from trekking and hiking to road and trail running, skiing, and urban living.

Clean Clothes Campaign (CCC) and a coalition of 234 organisations across Europe and Asia have launched the Fashioning a Just Transition Manifesto on May 1, calling for systemic change across the global fashion industry.

The manifesto outlines a vision for a “just fashion system” that prioritises workers’ rights, environmental protection and equitable economic structures. Developed in collaboration with young people, garment workers and advocacy groups, the framework sets out both near-term goals for 2030 and longer-term structural transformation across the value chain.

According to CCC, the initiative is intended as both a policy reference and a mobilisation tool, encouraging stakeholders—from educators and students to brands and policymakers—to engage with labour rights and climate action as interconnected issues rather than separate agendas.

Contributors to the manifesto emphasise that sustainability efforts must include fair wages, safe working conditions and worker participation in decision-making. Khalid Mahmood of Labour Education Foundation noted that environmental transition cannot be considered “just” without guaranteeing decent work and social protections, particularly in manufacturing regions.

Similarly, Alena Ivanova of Labour Behind the Label highlighted the need for broader structural reforms, including wealth redistribution and stronger welfare systems. Armin Šestić added that living wages are foundational, arguing that sustainability frameworks remain incomplete if workers continue to face poverty.

The manifesto proposes a series of principles for the industry, including fair distribution of climate transition costs, reduced overproduction, corporate accountability and the restoration of natural ecosystems. It also calls for stronger collective organisation and global solidarity across the fashion workforce.

For fashion educators, the initiative reflects a growing shift toward embedding social justice, labour rights and systems thinking into sustainability curricula. It signals that future industry frameworks are likely to demand not only technical innovation, but also a deeper understanding of policy, ethics and global supply chain dynamics.

Madrid – On the afternoon of Monday, May 4, 2026, East Coast time, the Metropolitan Museum of Art in New York was doubly celebrating the opening of its traditional spring fashion exhibition. The show is organised by its clothing department. Its opening was once again preceded by the annual charity gala for the benefit of the Costume Institute. This event is popularly known as “The Met Gala” and this year featured Zara and the Inditex group as some of its main protagonists.

Organised by the Costume Institute of the Metropolitan Museum of Art in New York, the exhibition was financed by Jeff Bezos and Lauren Sánchez Bezos. It also received support from the fashion house Saint Laurent and the publishing group Condé Nast. This year's show, which will not open to the public until Sunday, May 10, is organised under the allegorical title of “Costume Art”. This name aims to encompass the multiple facets of this extensive exhibition. It inaugurates the Metropolitan's new galleries, spanning nearly 12,000 square feet, which will now host the annual exhibitions of its clothing department and other fashion-related shows. As its name suggests, the exhibition delves into the art of dress and how humans have used it throughout history, both as a utilitarian and a symbolic medium.

To this end, the exhibition juxtaposes a wide selection of fashion garments and accessories with a curated selection of artworks, including paintings; sculptures; works on paper; and examples of decorative arts. Most pieces are from the Metropolitan Museum's own collection, but there are also notable loans. The “Costume Art” exhibition will feature works by designers and fashion houses such as Alexander McQueen; Givenchy; Saint Laurent; Marine Serre; Jean Paul Gaultier; Madeleine Vionnet; the Spanish brand Loewe; and the Spanish designer Mariano Fortuny y Madrazo, creator of the magical Delphos dress that was a sensation in the 1920s. These designs are in dialogue with works by Warhol, photographs by Alfred Stieglitz and Richard Avedon, and the painting “The Blind Man's Meal” by the Spanish artist Pablo Picasso. The exhibition is structured across 15 display areas, each with evocative titles like “Naked&Nude Body”, “Bodily being in its Diversity”, “Classical Body”, and “Abstract Body”.

The Met highlights that “through its collection, articulated in 19 thematic areas, the Metropolitan Museum of Art encompasses more than five millennia of artistic production, including diverse cultures, geographies, and epistemic traditions”. They add, “within this heterogeneity, a constant persists: the human figure, and more precisely, the clothed body”. “Draped, wrapped, tailored, armoured, engraved, painted, ornamented, and moulded in various ways, the body appears in all the Museum's galleries as a space where material form converges with social meaning”. This is seen through works where it is clear how “clothing not only covers” but also “mediates identity and articulates hierarchies of class, gender, belief, belonging, and difference, shaping the perception and understanding of bodies”.

“Fashion, in this broad cultural sense, transcends its secondary role to become an intrinsic part of the very structure of the Met's collection”, revealing itself as “a common thread that unites works across time and space”. This is the role that the exhibition seeks to highlight. Through “thematically significant juxtapositions”, it “invites the public to perceive familiar works as representations in which clothing structures visibility and facilitates subjectivity, rather than as autonomous forms”. It proposes “a decisive reorientation”, where “instead of treating fashion as an illustrative complement”, it is “conceived as an interpretive framework for reconsidering the politics of display”. “By placing fashion at the conceptual centre of the Met, ‘Costume Art’ expands aesthetics beyond distant contemplation to lived embodiment, where the clothed body emerges not on the margins of art history, but at its generative core”.

Zara scores a hat-trick at the Met Gala with its first Galliano and Marta Ortega's debut

It is essential to consider the thematic framework of the Costume Institute's 2026 exhibition and understand the specific purpose of “Costume Art” before highlighting the details of the Met Gala held on Monday afternoon in New York. This is important for several reasons. Firstly, the gala celebrates the exhibition's opening. Secondly, these annual events help the Metropolitan raise the necessary funds for its spring fashion shows. Thirdly, the exhibition's theme dictates the dress code for the gala attendees. For this occasion, the broad theme allowed guests considerable freedom in their choice of attire.

Key trends from the mostly wonderful outfits on the Met's steps included the dominant and elegant presence of black and white. This was showcased in designs like Karlie Kloss's Dior; Ayo Edebiri's Chanel; Blue Ivy Carter's Balenciaga; and the lingerie-inspired designs by Saint Laurent and Louis Vuitton worn by Kate Moss and American actor Tyriq Withers, respectively. Another major star of the evening was the gold/champagne tone, championed on the cobblestone-effect red carpet by Georgina Chapman and Tate McRae in Ludovic de Saint Sernin; Grace Gummer in a sculptural Gabriela Hearst dress; and Margot Robbie in a draped gold Chanel gown. Beyond these colour palettes, several creations were particularly elegant. Amanda Seyfried wore a delicate pale pink Prada dress. American actress, composer, and singer Coco Jones wore an ash-brown Prabal Gurung gown. Emma Chamberlain stunned in a 1997 Mugler dress. Nicole Kidman wore a flattering, sparkling red Chanel dress, and Julianne Moore chose a seductive Bottega Veneta.

Sharing the spotlight with these leading names in fashion and culture, the Spanish brand Zara made a surprising debut on the Met Gala red carpet. The star chain and main commercial brand of the Inditex group dressed not one, but three of its guests for the major fashion event. Puerto Rican singer Bad Bunny, after wearing Zara during the last Super Bowl, attended the Met Gala dressed as an older man in a particularly elegant black tuxedo with a bow detail at the neck by Zara. American singer-songwriter Stevie Nicks, at 77 years old, debuted on the Met red carpet presenting the first design created by John Galliano for Zara. It was a baroque construction in midnight blue with a velvet-detailed bodice, reminiscent of Galliano's era at Dior, hinting at the direction of his new role as a “creative collaborator” for Zara. Marta Ortega, the non-executive chair of the Inditex group, also attended her first Met Gala. She was accompanied by her husband, Carlos Torretta, and wore a fluid satin dress with a chiffon overlay, all in the same midnight blue as Galliano's first design for Zara. The attendance of Amancio Ortega's daughter highlights two things. Firstly, the increasingly prominent role Inditex is carving out in the fashion industry. Secondly, the good relationship Marta Ortega seems to have established with Anna Wintour, the gala's host—this year alongside Nicole Kidman, Venus Williams, and Beyoncé. This was already evident during her private visit to the Spanish fashion multinational's headquarters in Arteixo last January.

As a mass-market “fashion house”, Zara and Inditex have undoubtedly reached a new milestone at this Met Gala, evolving from a “fast fashion” brand to a “fast couture” one. On the Met Gala red carpet, they have accelerated ahead of competitors like Mango, which debuted at the event by dressing Sofía Sánchez de Betak in May 2019. Similarly, at the 2026 event, the American company Gap created an exclusive, custom-made design for Kendall Jenner by Zac Posen, creative director of Gap's GapStudio line. This daring design was inspired by one of the American chain's signature basic white T-shirts, but its cut and silhouette were very reminiscent of John Galliano's recent work as creative director of Margiela.

A red carpet with a strong Spanish influence

While the debut of Zara and Inditex at the Met Gala is significant for the mass-market fashion industry, the strong Spanish influence on this year's red carpet is also noteworthy. Beyond the presence of the Spanish fashion giant, this influence was asserted on the Met's steps by several attendees. Bee Carrozzini, Anna Wintour's daughter, wore a red Givenchy dress inspired by traditional Spanish Manila shawls. American actress Sarah Pidgeon and British actress Isla Johnston both wore creations by the Spanish brand Loewe, which was also represented by its creative directors, Jack McCollough and Lazaro Hernandez. Canadian actor Hudson Williams wore a bullfighter-style Balenciaga suit inspired by the short, Goya-esque jacket in blue silk velvet with cord and glass bead decoration, created by Cristóbal Balenciaga in 1947. British actor and singer Luke Evans attended the gala in a suit by the Spanish house Palomo. The brand, which debuted at the Met by having one of its designs included in the 2019 exhibition “Camp: Notes on Fashion”, dressed Evans in a Peter Marino-esque style. He wore a burgundy leather suit inspired by the homoerotic work of Finnish artist Tom of Finland.

The Spanish brand stated, “In response to this year's theme, Evans's outfit is inspired by the bold and graphic sensuality of Tom of Finland, reflecting his precision of line, his celebration of subcultures, and his unapologetic eroticism”. To achieve this, a look was created featuring a bomber jacket “combined with the brand's iconic ‘Ass-Air’ trousers, distinguished by their emblematic buttoned back opening”. The outfit was “enhanced with matching gloves, tie, and belt, while metallic stud details add texture and an avant-garde touch”.