Anyone familiar with the vibrant neighbourhood of De Pijp in the South of Amsterdam quickly thinks of the Albert Cuyp market, traditional pubs and lively, compact streets. However, those looking for unique shops increasingly find themselves on one particular street: Gerard Doustraat. This is not a run-of-the-mill street with large chains but a series of characterful boutiques run by entrepreneurs who know each other, make referrals and have built a close-knit retail culture together. FashionUnited spoke with several fashion entrepreneurs about how the street has developed and is preparing for a major redesign.

From office buildings to shopping street

According to Bas van Kampen of Felice Home of Brands, the street could hardly be called a shopping area when he arrived 13 years ago. “When I started here, our boutique was the second shop. Most of the premises were still offices or workspaces,” he explains. “I immediately saw its potential: beautiful, spacious buildings, a strong location in De Pijp and, at the time, relatively normal rental prices.”

That potential was gradually realised during that period by independent concepts such as sneaker store Baskèts and fashion boutique Bricklane, which set the tone for the street's distinctive character. Large international chains like Scotch & Soda, Weekday and Monki, on the other hand, barely gained a foothold. “This street is less interesting for such formulas,” says van Kampen. “It is all about a good mix of service and experience. That is where independent entrepreneurs distinguish themselves.”

Moving with trends and demand

Felice Home of Brands combines fashion, interiors and lifestyle in a carefully curated collection featuring brands such as Scandinavian Moss, Modström and Frnch. Van Kampen, who previously designed and built stores worldwide for G-Star, employs a distinctive strategy: constantly adapting to consumer behaviour. “After Covid-19, suddenly no one wanted to invest in their homes anymore, so we went from 70 percent interiors back to 80 percent clothing. Now you see a shift from minimalist Scandinavian to French fashion brands with a more refined style.”

Van Kampen spots trends early, often at international trade fairs like Maison & Objet. “For example, we were one of the first to sell Rains and we saw dried flowers suddenly explode in popularity after discovering them in Paris.” The strength of his shop lies in the element of surprise: “People might come in for clothes and fall in love with a kitchen. That is the idea.”

A shop with a ‘feel-good factor’

Verse, located on the street since 2018, is a curated concept store with a strong focus on exclusive, emerging brands. Founder Ciara Shah combines the shop with a wholesale agency, representing brands like Laagam and Mosj. This dual role gives her direct access to new collections and early drops. “We sell not only to consumers but also to about 100 retailers in the Netherlands. In the shop, we see directly how customers react to new brands.” These are labels with a distinct signature, often of European or Dutch origin.

Shah calls her colleagues ‘store stylists’ rather than salespeople. “They all have a lot of experience with styling and putting together great outfits.” The formula works: almost all customers come out of the fitting room for a chat and advice, Shah explains. “Shopping should be fun. There is always good music playing here. Whether it is Tuesday or Saturday, there is always a party vibe.”

Creative atmosphere of London in De Pijp

Bricklane, named after the London shopping street of the same name, was founded 12 years ago by Britte Baudoin with her business partner. “Everyone said: you are crazy, everything is going online, do you dare to do it? We, however, immediately saw the potential of this location.” The location, close to Gerard Douplein, the metro and the museums, proved to be a bullseye. “It was an immediate hit.” The shop focuses on trend-driven womenswear with an accessible price range and a high turnover rate. The assortment consists of Danish brands like Pieces, Gina Tricot, sunglasses brand A. Kjaerbede and shoe brand Vagabond, supplemented with niche brands from Paris.

“Our strength lies in buying and speed. We know exactly what to select for our target audience,” explains Baudoin. Bricklane has a loyal customer base: regular customers from De Pijp, but also customers from the very beginning. “Young women who came here when they were 18 and now live in other parts of the city keep coming back.”

Gerard Doustraat now has a distinct identity of its own. Whereas about ten years ago half of the premises were still empty or used as offices, the street now has 10 to 15 shops, mostly small-scale boutiques with a strong identity. “In the 12 years that I have been here, I have seen shops come and go, as in any shopping street. Generally, however, premises here are filled again very quickly.

"It is a desirable street,” states Baudoin. That appeal has everything to do with its composition. Shah cites diversity as a major strength: “You have Lois for jeans; newcomer Tally-Ho for the sustainable consumer; Just Waldo for designer vintage; and various jewellery and gift shops in between. All on one street.” What she feels is still missing is a premium shoe shop. That would be a nice addition to the sneaker selection at Baskèts.

The power of neighbourhood solidarity

What also makes the street special is the way entrepreneurs collaborate. They keep in touch via a shared street app, refer customers to each other and collaborations regularly arise. For instance, van Kampen provides the plants at sneaker shop Baskèts. “Broodje Gerard has made key rings for entrepreneurs on the street that give a discount on coffee. I regularly use them for customers or when agents visit,” shares Shah.

Entrepreneurs also support each other in other practical ways. “For example, if we need flowers for our shops, we go to Sijmons or to the market, where many stallholders know us. That feels good! Everyone tries to buy locally as much as possible and support each other, ” affirms Shah. The collegiality also has a practical side. For example, the app is used to share alerts about shoplifting, a problem that entrepreneurs say has increased significantly in recent years.

A street in motion

Gerard Doustraat is on the verge of major changes. The entire De Pijp area will be transformed into a car-free shopping zone in the coming years: parking spaces will disappear and pavements will be widened. This brings both uncertainty and opportunities for entrepreneurs. “The street will be completely overhauled within the next two years. You have to take that into account in your buying. I see it mainly as a positive long-term development. After Covid-19, my mindset is: not much more can happen to us!,” says Baudoin.

Van Kampen shares that vision: “It is better to make everything car-free and turn it into a boulevard-style street. With more greenery, maybe a bicycle cellar – then you can really make something beautiful out of it.” Shah is actively coordinating with the municipality on behalf of the entrepreneurs. “As an entrepreneur, it is never easy in Amsterdam. We are trying to get everything aligned with each other, including how we will keep the street lively during the works.”

Although the retail mix is currently quite strong, some charming businesses have also been lost on Gerard Doustraat over the years. Traditional specialty shops like the cheesemonger and a tapas bar did not survive due to a lack of succession or because the Covid-19 pandemic finished them off. A small tool shop stood empty for almost two years before a pilates studio moved in. “The current trend is that the street is becoming increasingly trendy. A diverse shopping street also needs ‘ordinary’ shops like a greengrocer's. It is a shame that they are disappearing,” says Shah. Nevertheless, entrepreneurs are not very concerned about structural vacancy. “Most premises are filled again relatively quickly,” says van Kampen. “Although landlords sometimes wait for someone to move in at a higher rent.”

André Hazes and the spirit of De Pijp

Gerard Doustraat is inextricably linked with De Pijp – and De Pijp is inextricably linked with André Hazes Sr. “He was born here,” says Baudoin. Further down the street is Eddy Bar, once the regular pub of Hazes himself. “Regulars are there even during the day. People come especially from Belgium for it; it is a kind of monument for die-hard fans. That generates footfall, not necessarily our target group, but it does create a lot of buzz.”

The real secret of the street, however, is perhaps even simpler: the sense of community. On a sunny Friday or Saturday, many entrepreneurs sit outside their doors to welcome the weekend with a beer or a glass of wine. The market attracts a mix of locals, expats and tourists who are increasingly discovering the side streets as well. “It just remains a very pleasant neighbourhood. That makes this a street where people not only come to shop, but also to linger a while longer. Especially when the weather is nice,” concludes Baudoin.

British multibrand giant Frasers Group has appointed Andy Brown as chief people and brand officer, according to a LinkedIn post confirming his promotion within the business.

The move expands his overview after several senior HR roles within the group over the past five years, most recently serving as chief people officer since August 2024.

Prior to that, he held roles including group HR director between 2020 and 2024, helping oversee people strategy across the retailer’s portfolio of brands and store estate.

Brown originally joined Frasers in 2020, bringing experience from retail HR leadership roles at companies including Evans Cycles, which was taken over by the group in 2018 and where Brown had served as HR director.

Prior to this, earlier senior positions included Countrywide and Hamptons International, where he led large-scale organisational restructuring and employee engagement programmes.

His long-term experience spans workforce transformation, retail operations, and large multi-site employee networks, with a focus on HR systems, talent development and organisational efficiency.

New York - American retail giant Walmart published a higher-than-expected turnover on Thursday for its first quarter, which runs from February to April. Its executives warned that American consumers were being constrained by the return of inflation.

Turnover reached 177.8 billion dollars, an increase of 7 percent compared to the same period last year, according to a statement. This result surpassed the company's forecast, which anticipated a range between 3.5 percent and 4.5 percent.

Walmart has long had an online presence. It made this a strategic priority in 2016 with the acquisition of start-up Jet.com, one of the most dynamic players in the sector.

The Bentonville, Arkansas-based group has capitalised on its network of stores and warehouses to ensure fast and cost-effective deliveries for online orders, helping it to close the gap with Amazon.

In the first quarter, online sales grew by 26 percent year-over-year. They now account for 23 percent of the company's total turnover.

This digital focus has also enabled Walmart to develop a significant online advertising business. The group also created Walmart Marketplace, a platform open to third-party companies, similar to Amazon's model.

Just under a year ago, it also launched an artificial intelligence (AI) assistant named Sparky to help customers with their shopping.

Pressure on consumers

In contrast to the group's growth, its margins have been affected by the rise in fuel prices.

The geopolitical context and accelerating inflation are also affecting customers.

“In the US, consumers are under pressure and they are turning to Walmart for good deals,” said CEO John Furner, during his first quarter at the helm of the global retail leader.

Chief financial officer, John David Rainey, indicated that the average amount of petrol purchased at the group's service stations had fallen to its lowest level since 2022. “This is an indicator of stress” for customers, who are moderating their consumption, Rainey explained.

If the Strait of Hormuz remains closed and oil prices remain high, “this could lead to price increases” at Walmart, warned Rainey, particularly in the food category.

Net profit reached 5.49 billion dollars, an increase of 18 percent. Earnings per share, excluding exceptional items, stood at 66 cents. This key figure for investors was in line with analysts' projections.

Despite the first quarter's growth of 7 percent, Walmart confirmed its annual forecast and its growth range of 3.5 percent to 4.5 percent. This indicates an expected slowdown in the coming quarters.

This outlook disappointed investors. In pre-market trading, the stock dropped by nearly 4 percent.

“Some investors found these forecasts a little disappointing,” commented Neil Saunders, an analyst at GlobalData.

The analyst, however, sees the glass as half full. He praised Walmart's ability to maintain its targets “despite a serious deterioration in consumers' financial situation due to petrol and inflation”.

Achieving the annual growth expected by the group would constitute “a solid expansion” and allow it to gain market share, the analyst argued.

Geographically, the retail giant was driven by its international business, with sales 18 percent higher than in the same period of 2025.

This momentum offsets the slower growth of the Walmart brand in the US (+4.5 percent) and its discount store subsidiary Sam's Club (+6.1 percent).

Nevertheless, revenue growth in the US was the highest in a year and a half, Furner stressed.

On Wednesday, the European Outdoor Week concluded in the Italian town of Riva del Garda, featuring the new OutDoor trade show. The unanimous feedback from the industry was clear: those who were not there missed out.

Over 8,000 trade visitors, 250 exhibitors with more than 400 brands, and 2,700 buyers from 59 countries – that is the official summary of the OutDoor trade show, which took place for the first time from May 17 to 19, 2026, on the northern shore of Lake Garda. The outcome was what many had hoped for: a successful debut. Although the trade show has not yet reached the scale of past events from the outdoor industry's boom years, the atmosphere was consistently positive. In contrast to previous years, there was a palpable sense of relief that the new concept appears to be working.

“When we introduced the concept for the European Outdoor Week, we were confident that the format we presented would meet the needs of our industry colleagues,” explained Christian Schneidermeier, managing director of the European Outdoor Group (EOG) and the event's organiser. “However, the crucial success factor was always whether they would attend."

They did attend. Exhibiting brands included Gore-Tex, Columbia, Salomon, Patagonia, Merrell, The North Face, Picture Organic Clothing, Mammut, Vaude, Lowa, Meindl, UYN, Devold, Fjällräven, Hanwag, Houdini, Maloja, La Sportiva, La Munt, Salewa, Klättermusen, Mountain Equipment, Rab, Millet, and many more.

New date for 2027

“All of this confirms our clear understanding at the EOG that the industry wants – and needs – in-person events like this,” added Schneidermeier. The date for next year's follow-up event was also revealed at the trade show. It is scheduled to take place again in Riva from May 8 to 13, 2027, and promises to offer an even “bigger and better presentation for the outdoor sector.” The concept of the European Outdoor Week, which was intended to complement the trade show with numerous events for the industry and consumers, was also well-received by brands and consumers alike.

The industry is supportive of the new location, as confirmed by Stefan Stütler, who represents the sport and lifestyle brand Maloja in Austria. “It was clear to me beforehand that the industry would approve of the new location, so it was also clear that we would exhibit here.” Helder Maurao, sales director Europe for the young Italian outdoor label Roa, is also more than satisfied: “I find the trade show to be very positive. It feels like a real outdoor event.” The business perspective also seems promising: “Many retailers do not know us yet and are seeing us here for the first time. The feedback is very positive.”

Trail running as a clear industry trend

In terms of content, the trade show highlighted one thing above all: trail running remains the major trend in the outdoor industry. Numerous brands presented new, particularly lightweight and performance-oriented products. Lowa, for example, not only introduced its new brand concept but also an extremely lightweight trail running shoe. Maloja is also focusing more on this segment in the future, while the Italian label Roa has reduced the weight of the next generation of its trail running shoe from an original 351 to just 218 grams. The Swedish outdoor label Houdini, in turn, presented its very first shoe. Ortovox, on the other hand, introduced its first-ever bike capsule collection.

Innovations in materials and at the European Outdoor Award

There were also innovations in materials and production. The company Notape developed a zip whose teeth are welded directly onto the fabric, completely without a classic carrier tape. The company also offers the corresponding machine for processing. Material innovations were also a focus at the European Outdoor Award, such as a sleeping bag from Nordisk made from bio-based materials with natural colouring from onions. Peak Performance was also recognised for a modular, four-piece anniversary skiing outfit.

The surprise winner, however, was Decathlon. The retailer has developed a device that can locate holes in sleeping mats within seconds. Sleeping mats are among the most frequent complaints at Decathlon, but repairs have not been economical until now due to the difficulty of leak detection. “With this device, we can take our service offerings, such as repairs, second-hand sales, and rentals, to a new level,” said Mattias Schul, service center director for Decathlon Germany.

Challenges: internationality and logistics

Despite the overall positive atmosphere, a certain caution from the brands was also noticeable, at least regarding the staffing of the stands. The stands were primarily staffed by regional sales teams from Italy and the DACH region, with fewer representatives from corporate headquarters. The exhibition halls, which are currently being renovated, also presented challenges due to confusing signage, making navigation difficult at times.

For the most part, however, the main topic of conversation was the question of how to get to Riva at all. The town is not directly accessible by train or plane, but only by bus from places like Rovereto, or by car. This situation had an almost nostalgic character, reminiscent not only of earlier times in Friedrichshafen, where the trade show was held until 2018, but it also sparked the ambition of the outdoor industry. Consequently, some visitors travelled by train and bicycle. The head of the trade show, Christian Schneidermeier, also travelled exclusively by bicycle in Riva. Business consultant and outdoor expert Sebastien Willefert therefore attested on LinkedIn that the industry has an “irrational need” to “gather in some of the most remote places imaginable to hold a trade show”.

Review and starting point for OutDoor

In recent years, there has been intense discussion about the location and precise direction of the OutDoor trade show. After many successful (and more recently, less successful) years in Friedrichshafen on Lake Constance, the trade show was held for the first time in Munich in 2019 under the title “OutDoor by Ispo”. This was followed by two years of Covid-19, during which the fledgling trade show had to take a forced break. In 2022 and 2023, it took place on a much smaller scale at the MOC in Munich. In 2024, it finally returned to the Munich exhibition grounds on a large scale, but only for a short time: the 2025 event had to be cancelled at short notice due to a lack of interest.

This was the starting point from which the EOG, in cooperation with the trade fair company MagNet, now sought to relaunch the format.

US fashion retailer Cato Corporation has reported a net income of 3.33 million dollars for the first quarter ended May 3, 2025. This figure marks a significant decrease compared to the net income of 11 million dollars recorded for the first quarter ended May 4, 2024.

Diluted earnings per share for the period fell to 0.17 dollars, down from 0.54 dollars in the prior year period. Total sales for the quarter reached 168.43 million dollars, representing a 4 percent decline against the same period of the previous year. Same-store sales for the quarter remained flat.

Economic uncertainty impacts consumer spending

“Our results reflect our customers' cautious approach to discretionary spending,” said John Cato, chairman, president and chief executive officer of the Charlotte-based company.

“While our sales trend improved later in the quarter, the general uncertainty regarding the economy and the potential impact of the proposed tariffs has us cautious about the remainder of the year.”

During the first quarter ended May 3, 2025, Cato Corp repurchased 294,036 shares. The retailer did not open any new locations during the period and permanently closed eight brick and mortar stores.

Fashion design graduates from Winchester School of Art transformed Winchester Cathedral into a runway venue this week, presenting collections that combined historical references, digital design tools, and contemporary fashion experimentation during the school’s annual graduate showcase.

Held inside the cathedral’s nave, the 2026 Graduate Fashion Show featured collections from 25 final-year students, with 12 selected to advance to Graduate Fashion Week in London next month. According to organisers, the event marked the first time the cathedral had been used as the setting for the show, placing avant-garde student work against one of England’s best-known historic religious landmarks.

Winchester School of Art, part of the University of Southampton, said the showcase reflected both technical training and experimental approaches to fashion presentation. Matthew Coats, a former designer at Chanel under the late Karl Lagerfeld and now programme lead for Fashion Design at WSA, described the graduates’ work as “extremely high” in quality and said the cathedral setting provided “the perfect inspiring and impressive backdrop” for the collections.

For the first time, students also led the production of the event themselves. Show planner Grace Cowan said the presentation was intended as both a celebration and culmination of three years of work.

Several collections explored themes tied to technology, history, and identity. Graduate Jiaheng Liu, known professionally as Augustin, presented “Couture of Them,” a collection featuring 3D-printed accessories examining masculinity and technological evolution. Liu has been accepted into a master’s programme at Institut Français de la Mode in Paris.

Another student, Nuo Xu, whose collection “Suspended Memory” drew on Second World War heritage, brutalist architecture, and punk influences, will continue postgraduate study at London College of Fashion and has been recognised by Graduate Fashion Week as a “Talent of Tomorrow.”

The school also highlighted its increasing use of digital fashion tools, including the software platform CLO3D. Faculty members said students created digital avatars of themselves to test garment fit both physically and virtually, part of what the programme describes as an effort to combine traditional and AI-assisted fashion workflows.

Alongside the runway presentations, students participated in a research and archival project titled “Reimagining Sue Clowes,” developed with fashion historian Dr Shaun Cole. The initiative revisited the work of Sue Clowes, whose designs became closely associated with Culture Club and singer Boy George in the 1980s. Students reinterpreted garments from archival collections before producing original work inspired by Clowes’ style.

The showcase reflects a broader shift in fashion education, where graduate presentations increasingly serve as both artistic statements and professional launch platforms. Across the industry, fashion schools have expanded the use of digital prototyping, sustainability research, and interdisciplinary storytelling as emerging designers prepare for a changing luxury and retail landscape.

Ralph Lauren Corporation, the US-based luxury lifestyle group, has reported its financial results for the fourth quarter and full fiscal year 2026, delivering performance that exceeded market expectations. The company crossed a significant financial milestone as annual revenues surpassed 8 billion dollars for the first time in its history.

For the full fiscal year 2026, net revenues rose 14.6 percent on a reported basis to 8.11 billion dollars. In constant currency, full year revenue increased 11.8 percent. Net income for the fiscal year reached 941.10 million dollars on a reported basis, up from 742.90 million dollars in the prior year. Diluted earnings per share for the full year stood at 15.11 dollars on a reported basis and 16.59 dollars on an adjusted basis.

Fourth quarter performance accelerated by Asian expansion

During the fourth quarter, net revenues increased 16.6 percent on a reported basis to 1.98 billion dollars. Growth stood at 12.1 percent in constant currency, with foreign currency translation providing a positive impact of approximately 450 basis points.

Fourth quarter net income increased to 151.60 million dollars, or 2.45 dollars per diluted share on a reported basis. Adjusted earnings per diluted share rose to 2.80 dollars, compared to 2.27 dollars in the fourth quarter of fiscal 2025.

The fourth quarter performance was led by strong momentum in Asia, where net revenues climbed 30.6 percent on a reported basis to 563.60 million dollars. Constant currency growth in the region was 27.6 percent, driven by exceptional retail sales in China during the Lunar New Year period. Europe also recorded solid results, with fourth quarter revenue up 17.9 percent on a reported basis to 619.60 million dollars, or 6.2 percent in constant currency.

In North America, net revenues increased 8.2 percent to 762.70 million dollars. The expansion was driven by direct-to-consumer (D2C) comparable store sales, which grew 16 percent during the quarter. This performance helped offset flat wholesale revenues in the region, which were impacted by planned distribution reductions in lower-tier wholesale channels.

Direct channels and digital growth

Global D2C comparable store sales increased 17 percent in the fourth quarter and 13 percent for the full year, showing positive retail performance across all geographical channels.

The reported gross profit margin for the fourth quarter reached 69.7 percent, while adjusted gross margin expanded 110 basis points over the prior year to 69.7 percent. Operating income for the quarter came in at 188.60 million dollars on a reported basis, representing an operating margin of 9.5 percent. On an adjusted basis, operating income reached 218.30 million dollars, with the operating margin expanding 70 basis points to 11 percent.

A breakdown of sales channels during the fourth quarter highlights the strength of the group's retail operations, which generated 1.29 billion dollars globally compared to wholesale revenues of 656 million dollars. Licensing operations contributed 32.80 million dollars during the three-month period. E-commerce outpaced physical store networks across all major international markets during the fourth quarter. In North America, digital commerce comparable sales grew 21 percent, while brick and mortar stores grew 14 percent. In Europe, digital commerce increased 14 percent, compared to a 2 percent increase in brick and mortar locations. Asia recorded a 31 percent increase in digital commerce alongside a 25 percent increase in physical retail operations.

At the end of fiscal 2026, the company expanded its global corporate retail footprint to 594 directly operated stores and 644 concessions. The global store network includes 287 Ralph Lauren flagship locations and 307 outlet stores.

Mid-single digit revenue growth projected for fiscal 2027

"Our teams around the world executed with excellence and agility to deliver a strong first year of our Next Great Chapter: Drive strategic plan," stated Patrice Louvet, the president and chief executive officer of Ralph Lauren Corporation. Louvet expressed confidence in the company's multi-engine growth strategy, operational discipline, and adoption of artificial intelligence technologies.

The company introduced its preliminary outlook for fiscal 2027, anticipating constant currency revenues to increase mid-single digits, centered around 4 percent to 5 percent on a 52-week comparable basis. The operating margin is projected to expand by 40 to 60 basis points in constant currency, driven by modest gross margin gains and operating expense leverage.

For the first quarter of fiscal 2027, constant currency revenues are forecast to grow mid to high-single digits, with the operating margin expanding 80 to 120 basis points, aided by a lower prevailing tariff rate of 10 percent. Based on current exchange rates, foreign currency is expected to have a neutral impact on full year results.

US denim specialist Lee Jeans is set to change hands. Parent company Kontoor Brands has confirmed it has signed an agreement with Authentic Brands Group to sell the business for up to one billion dollars.

The definitive deal, which has been approved by Kontoor’s board of directors, includes an initial transaction value of 750 million dollars and a 250 million dollar earnout based on Lee’s future performance under Authentic. The transaction is expected to close in the second half of 2026 and remains subject to regulatory approvals and closing conditions.

In a statement, Kontoor’s president, CEO and chairman, Scott Baxter, described the divestment as a "deliberate step to sharpen our brand portfolio and unlock investment capacity to fuel accelerated growth”.

Kontoor had already confirmed plans to separate from the Lee brand in its financial report for 2026, in which Lee had already been classified as a discontinued operation. At the time, Baxter had said the move looked to align the group’s portfolio “towards a higher growth profile”.

Kontoor repositions towards ‘higher growth profile’

Rumours about potential bidders then began circulating, with Authentic reported as a frontrunner in the takeover race. By adding Lee to its portfolio, the US multibrand giant is extending its long-term streak of snapping up notable labels, placing the brand alongside the likes of Guess, Dockers, and Boardriders.

Authentic itself has seen significant growth, with sales outpacing a prior five-year goal of achieving 100 billion dollars in sales and whispers of an IPO filing beginning to spread.

At Kontoor, meanwhile, the team is pivoting its attention towards Wrangler and Helly Hanson, two brands Baxter said have “significant white space opportunities”. As a result of the deal, the company will now be “better positioned to fuel a higher growth profile” in segments like denim, outdoor and workwear.

Alongside a newly streamlined brand portfolio, Kontoor is also aiming to enhance its profitability profile, strengthen its balance sheet, enable disciplined reinvestment and enhance its commitment to long-term value for shareholders.

Baxter added: “I want to reinforce our commitment to support Lee through the sale process and to personally thank the Lee team for getting us to where we are today. We believe this is a great outcome for Kontoor, the Lee business and Authentic.”

Cannes, France - In Cannes, a look is not born on the red carpet. It is prepared months in advance, involving sketches, fittings and negotiations with fashion houses. What the public sees in a few seconds is the result of a precise mechanism where every detail matters.

Dresses, accessories, hairstyles and makeup: nothing is left to chance. Each element is chosen with millimetric precision. At the forefront of this process are the stylists, true architects of image, responsible for giving coherence and character to each ensemble.

“We sometimes reflect for two or three months and it all comes down to ten seconds on the red carpet,” French stylist Ilya Vanzato, the creator of some of the most talked-about looks at the legendary festival, told AFP.

The creative process begins with a discussion between the stylist and their client. “That's when we ask ourselves: for this Cannes, what are we looking for? Something sober and elegant? Or more of a ‘wow’ look that generates buzz?” he adds.

Vanzato, who trained in the haute couture workshops of Dior and later with Zac Posen in New York, is the stylist behind the looks of supermodels like Coco Rocha and Natasha Poly. He insists that a memorable outfit is not just about aesthetics; it is about narrative.

The Cannes red carpet has always been a stage for calculated messages. Examples range from Madonna revealing Jean Paul Gaultier's famous conical corset to Cate Blanchett showing the colours of the Palestinian flag with the lining of her Heider Ackermann dress.

“There are many beautiful pieces, but you have to find one that tells a story and fits the celebrity's image,” adds Alexandra Pavlova.

The Russian stylist, who has been attending Cannes for six years, summarises the real challenge: finding a piece that transcends beauty.

Fashion and strategy

In Cannes, fashion is also a matter of negotiation. Behind every ensemble are strategies and alliances that are forged long before a celebrity steps onto the red carpet.

“A stylist not only proposes looks; they build bridges between an artist and the design houses, and gradually elevate their status within the fashion world,” explains French stylist Coline Bach, who has dressed names like Christina Aguilera, Angèle and DJ Snake.

A successful appearance can open the door to advertising campaigns and collaborations with major brands.

“There is a real strategy behind which brand to wear and what relationship you want to build for the future,” adds Ilya Vanzato.

During the festival, brands set up private showrooms in the grand luxury hotels. There, amidst jewellery, clothing racks and public relations teams, exclusive pieces are tried on that are rarely seen again outside those rooms.

The pressure has intensified with social media, which multiplies the visibility of each appearance. A look can generate millions of views and become a global trend in a matter of minutes.

“Every piece worn in Cannes becomes hyper-mediatised,” says Pavlova.

D-day: glamour and chaos

The day of the red carpet begins hours before, in a hotel room turned into an operations centre. “Three hours before, we are already on with the glam: hair and makeup,” explains Bach.

Even after months of preparation, everything can change in an instant.

In Cannes, stories abound of dresses held up at customs, impossible shoes or fabrics that react badly under the Mediterranean light.

Pavlova recalls an occasion when she had to intervene at top speed. Minutes before leaving for the red carpet, in the lobby of the famous Martinez hotel, one of her client's outfits had an accident: someone stepped on the fabric and tore it.

“You have to be very reactive, which is why I never go anywhere without my sewing kit,” the stylist says.

Right there, among tourists, cameras and the murmur of the lobby, Pavlova sewed the piece by hand while her client, already with hair and makeup done, waited ready for the cameras.

When he crossed the Croisette, no one imagined that his look had been saved at the last minute.

“People think that coming to Cannes is about enjoying the good life and drinking cocktails, but in reality, we spend our days putting out fires,” Bach summarises.

On Thursday 18 June, the Centrale Markthal in Amsterdam will transform into a runway for a new generation of fashion voices. Graduating Fashion & Design students will present collections that challenge conventions, reflect on contemporary society, and explore the evolving role of fashion in a rapidly changing world.

Get your tickets here

The AMFI Fashion & Design Graduation Show 2026 brings together a new generation of designers who use fashion as a means to express personal stories, societal issues, and cultural tensions. Throughout the collections, themes such as identity, heritage, femininity, mental health, queer expression, digitalisation, and the need for protection and connection continuously emerge. The graduates explore how clothing can function not only as something to wear, but also as a carrier of memories, emotions, and protest.

With a strong focus on craftsmanship, material research, and experimentation, the designers demonstrate how fashion moves between physical and digital worlds, between tradition and innovation, between vulnerability and strength. From handcraft and upcycling to innovative techniques and sculptural silhouettes, the show reflects a generation that critically observes the world around them while simultaneously creating space for imagination, softness, and personal autonomy. The result is a diverse presentation in which fashion becomes not only aesthetic, but also a way to reveal new perspectives.

Practical Information

• Date: Thursday 18 June 2026
• Tickets: €22,50, exclusive of administration fees.
• Door open: 18:30
• Show: 19:00 - 20:30
• Dinner & Drinks: 20:30 – 23:30.

Centrale Markthal, Jan van Galenstraat 4 1051 KM Amsterdam

Students at Rocky Mountain College of Art + Design are set to present experimental runway collections at the institution’s 2026 Fashion Showcase and Award Ceremony, an annual event that highlights emerging talent in fashion design and apparel construction.

According to a release distributed through PR Newswire, this year’s showcase centers on the idea of “recontextualizing the catwalk,” with students using fashion presentation as a medium for storytelling, identity exploration, and cultural commentary. The event will feature original garments created by fashion design students, alongside awards recognizing achievement in categories such as craftsmanship, concept development, and presentation.

Fashion education toward conceptual runway formats

The showcase reflects a broader trend within fashion education toward interdisciplinary and conceptual runway formats, where student designers are encouraged to combine traditional garment-making with performance, digital media, sustainability practices, and social themes. Similar conversations around innovation and sustainability have recently appeared across the global fashion industry, including at the 2026 Global Fashion Summit in Copenhagen, where industry leaders emphasized resilience, circular design, and emerging creative technologies.

RMCAD, founded in 1963 and based in Lakewood, Colorado, offers degree programs in visual arts, design, and media disciplines. The college has increasingly positioned student showcases as public-facing professional platforms, connecting graduates with broader creative industries. Earlier announcements from the institution highlighted expanding student participation across fashion, animation, and game arts programming.

While fashion school runway events traditionally focused on technical skill and seasonal collections, educators say newer formats place greater emphasis on narrative, inclusivity, and experimentation. RMCAD’s 2025 showcase, themed “Identity,” similarly encouraged students to express personal and cultural perspectives through original collections.

Paris - The Arab World Institute (L’Institut du Monde Arabe) is launching the second edition of the Arab World Fashion Prize (Arab Fashion Award – AFA IMA). The call for applications is open until June 1, 2026.

The inaugural award ceremony took place in October 2025. It was attended by Jack Lang, who was president of the IMA at the time, and Pascal Morand, executive president of the Fédération de la Haute Couture et de la Mode.

The initiative aims to support designers from the Arab world and its diasporas, discover new talent and highlight the diversity of Arab creative expression.

The IMA states its ambition to become “the leading platform and preferred voice” for promoting young designers from the Arab world and its diasporas.

Applications must be submitted in three steps: downloading and signing the rules; sending the application file by email; and completing an online form.

An “Emerging Talent” category rewards a designer at the beginning of their career whose unique aesthetic demonstrates promising potential and a vision for the future of fashion.

Since February 2026, the Arab World Institute has been presided over by Anne-Claire Legendre, a French diplomat and former advisor to Emmanuel Macron on North Africa and the Middle East. She succeeded Jack Lang.

At a pivotal moment for Europe’s textile and fashion industry, the Amsterdam University of Applied Sciences (AUAS/HvA) will host the international Textile ETP Conference from 26 to 28 May 2026, Europe’s leading platform for future-proof fashion and textiles. Researchers and the industry will join forces to make transformation possible, as new European legislation forces companies to change how they design, produce and sell clothing. One major catalyst: the EU’s upcoming Digital Product Passport.

This month, science and industry join forces in Amsterdam to assess how digitalisation and data-driven business models will reshape the textile and apparel sector. A crucial moment, as Brussels is introducing new rules that will fundamentally change this industry.

“The industry is not quite there yet, footwear for instance is not as willing as we had hoped”, says Troy Nachtigall, professor Fashion Research and Technology at AUAS. “The Digital Product Passport transformation is coming through the Ecodesign for Sustainable Products regulation (ESPR). It will dramatically change the landscape. The product passport digitalizes a sector that has resisted being digitalized, but that opens up all kinds of new possibilities.”

Front-runners

The conference of the European Technology Platform for the Future of Textiles and Clothing (ETP) in Amsterdam aims to accelerate this transition, by bringing together science and industry. Over the past decade, Nachtigall’s research group and its partners from ETP have already explored what the future of fashion and textiles could look like. This knowledge is becoming increasingly urgent, as companies must change due to European legislation.

“As a research group we use a lot of speculative design,” says Nachtigall. “We’re taking the impossible, making it barely possible and helping companies taking it from there and make it better.” The researchers work together with companies as Knitwear Lab and ByBorre, pioneers of the future of fashion production.

Microfactory

Nachtigall thinks that automation and robotics will play a crucial role in the future of fashion manufacturing. The Amsterdam University of Applied Sciences has a robotized microfactory where knitted sweaters can be produced on-demand.

“We don’t see a lot of people that want to do textile engineering or the manual side anymore, not even in China or Bangladesh. One of the more interesting things we see, is that no generation wants their children to work in textiles. This idea that we’re starting to move towards robots and automatization is way to go.”

Nachtigall points to a future in which designers can test products before they even enter production. “A designer can make something, put it on Instagram, and could have sold 10 pieces before they even go into manufacturing and production. And when it’s made by someone who’s closer to you, I think that will cause a deeper connection towards clothing.”

Global players

Worldwide, only a small number of institutions are researching how robotics and digitalization can transform the fashion industry. Besides AUAS, Nachtigall points to institutions such as Politecnico di Milano, the Swedish School of Textiles and MIT. “It’s a small group of people working in this way, and we all basically know each other.”

Hosting this conference of European innovators in Amsterdam gives the Fashion Research & Technology research group and AMFI an international platform to showcase the impact of practice-based research. “What makes our research group unique is our holistic perspective,” says Nachtigall. “We don’t focus on just one part of the fashion industry, but look at the entire ecosystem.”

Through the NewTexEco network, AUAS collaborates with other research partners to tackle sustainability challenges across the entire supply chain, from fibre production and manufacturing to retail and waste streams.

AUAS is also preparing students for this rapidly changing industry through its Fashion Research and Technology research group, AMFI, and the Master’s programme in Digital Fashion Technology.

The anniversary conference in Amsterdam is organised by AMFI, AUAS and Modint in collaboration with the European network for textile and clothing innovation.

About the EU Legislation

The European Union is developing new legislation designed to make sustainable fashion and textiles the standard. One key element is the Digital Product Passport (DPP): a digital record that shows exactly where a garment was made, where its materials come from, how it was produced, and how it can be repaired or recycled.

The passport is part of the Ecodesign for Sustainable Products Regulation (ESPR). The rules will apply to all brands selling clothing, textiles or footwear within the EU. In addition, large fashion companies will no longer be allowed to destroy unsold clothing and footwear from 2026 onwards. Medium-sized companies will follow in 2030, while small brands are currently exempt.

The EU is expected to finalize the textile and Digital Product Passport regulations in 2027.

Major fashion retailers including Primark, H&M Group and Zalando are calling on governments to introduce tax reforms aimed at making resale and repair more commercially available.

The move comes as nearly 70 fashion and textile organisations signed a joint statement coordinated by the Ellen MacArthur Foundation, warning that current tax systems continue to favour the production of new clothing over circular business models.

Other signatories include Bestseller, Selfridges, Global Fashion Agenda, Arc’teryx, Decathlon, Vinted, Lacoste, Vestiaire Collective, ThredUp and Etsy.

The group is urging policymakers in the EU, US and Canada to reduce VAT on resale and repair services, lower labour taxes linked to circular business models and expand Extended Producer Responsibility schemes to fund textile collection and sorting infrastructure.

The proposals have particularly drawn backing from retailers expanding resale, repair and re-commerce operations as pressure grows around sustainability targets, textile waste and shifting consumer spending habits.

According to the foundation’s new report, ‘The New Bottom Line: Policy levers to scale resale and repair for fashion’, targeted policy reforms could increase gross profit margins to as much as 55 percent for resale businesses and around 41 percent for repair services. The circular fashion market is projected to reach 393 billion dollars by 2030, growing at twice the rate of the wider fashion industry.

‘Today, [the resale model] is economically penalised…’

In a statement, H&M Group’s chief sustainability officer, Leyla Ertur, said: “Resale keeps products in use while meeting customer demand for more affordable and sustainable choices. But today, this business model is still economically penalised.

“If governments are serious about circularity, they need to act by removing double taxation, reducing labour costs, and removing other barriers that hold resale back.”

The Ellen MacArthur Foundation’s fashion and textiles lead Mark Buckley added: “Fashion’s potential to become more circular is significant, but the economics are stacked against resale and repair. Businesses are incentivised to use new resources rather than invest in keeping clothes in use for longer.”

The initiative forms part of the foundation’s Fashion ReModel project, which supports brands and retailers developing revenue streams through resale, repair, rental and remaking services. Participating businesses reported circular revenues growing four times faster than broader company sales, yet the segment still represents a relatively small share of total turnover.

Resale and repair businesses are still often burdened by high labour costs and typically face taxes on items at every transaction, rather than solely the original point of sale.

Vinted’s senior director of sustainability, Marianne Gybels, said to make circular businesses the first choice, they must deliver on what matters most to consumers, such as reliability and affordability.

“To unlock its full potential, policy should support business models that make circular choices more accessible. This helps second-hand to scale further and provides consumers high-quality, affordable alternatives that are significantly better for climate impact than buying new,” Gybels concluded.

The bankruptcy filing of US boating retailer West Marine, which recently sought Chapter 11 protection, has implicated several apparel companies. Rocky Brands, Kent Water Sports LLC, and Luxottica of America are listed among the retailer's top 30 unsecured creditors. Other brands sold by West Marine, such as Sperry, are reported to be less affected by the proceedings.

West Marine filed its Chapter 11 petition with Delaware's US Bankruptcy Court, listing both estimated assets and estimated liabilities in the range of 500 million dollars to one billion dollars. The company has entered into a restructuring agreement with backing from key financial stakeholders to pursue a transaction that intends to enable the delivery of its capital structure “while maximising value and ensuring continued service to the boating community”.

The total number of creditors listed surpassed 100,000, with Rocky Brands US LLC, which sells its Xtratuf boots through West Marine, emerging in the upper portion of impacted unsecured creditors. According to the filing, the group is owed 1.1 million dollars, while Kent Water Sports, the parent company of footwear brand Ho Sports, is owed nearly 1.17 million dollars and sunglasses brand Luxottica is owed over 900,000 dollars.

Mounting annual lease obligations exceeding 50 million dollars were cited by West Marine CEO Paulee Day as the primary reason for the bankruptcy filing. “Many of the debtors’ stores are burdened by undesirable locations, onerous lease terms negotiated during more favourable economic conditions, and limited flexibility for early termination, leaving the debits with little ability to right-size their portfolio outside of a court-supervised process,” Day said.

She continued: “The fixed costs associated with maintaining this excess retail presence—including rent, utilities, and allocated overhead—have consistently consumed a disproportionate share of the debtors’ operating cash flow, eroding margins and preventing the business from investing in the operational improvements necessary to restore long-term profitability.”

West Marine, which operates 200 retail locations, has appointed Hilco Real Estate to advise on potential lease saving areas, and oversee the wind down of stores that do not align with the company’s go-forward footprint. Day said the actions taken “will allow us to optimise our operations and rationalise our footprint, so that we can focus on continuing to serve our customers and community well into the future”.

FASHIONPHILE, the leading re-commerce platform for pre-owned, ultra-luxury accessories, today announced global icon, entrepreneur, and Grammy-winning artist Cardi B as its 2026 Global Brand Ambassador. The partnership signals a defining moment for the brand, bringing one of fashion's most influential collectors into the conversation around ownership, circularity and long-term value in luxury.

Shot in New York City, the campaign features a mix of still imagery and video capturing Cardi B engaging with FASHIONPHILE's highly curated assortment – from rare, hard-to-find pieces to recent-season icons. Framed by the theme "Get Your Bag," the campaign taps into FASHIONPHILE's unique shop-and-sell model, reflecting the circularity of pre-loved luxury, where acquiring and reselling are inherently connected. More than a traditional campaign, it reflects how resale shows up in culture today, driven by access, trust, and a new generation of consumers who want both style and substance.

"I love a good bag, but I love a smart buy too. I love Fashionphile because they really have it all. The rare pieces, the classics, and everything's authentic." said Cardi. "This partnership made sense because we both care about quality, style, and getting to the bag!"

Known for her extensive collection of ultra-luxury handbags, including highly coveted pieces from Hermès, Cardi B brings both cultural authority and genuine credibility as a collector. Her unapologetic, transparent approach to luxury has resonated with a new generation of consumers – one that increasingly sees high-end fashion as both personal expression and long-term investment.

"At FASHIONPHILE, we've always believed that ultra-luxury is an investment, not just a purchase," said Sarah Davis, Founder and President of FASHIONPHILE. "Cardi embodies that mindset in a way that's both aspirational and real. She understands the value behind these pieces and brings a level of visibility and energy that expands how people think about resale."

As part of the collaboration, Cardi B has curated an exclusive edit of her covetable accessories, featuring highly sought-after pieces from iconic luxury brands including Hermès, Chanel, and Goyard. The collection will be available exclusively online.

This partnership marks FASHIONPHILE's fourth major ambassador program, following collaborations with Martha Stewart, Nicole Richie, and Emma Roberts – reinforcing the brand's position at the intersection of culture, credibility and modern luxury.

French company Losanje, which specialises in textile upcycling, has secured a capital injection of 6.7 million euros (7.79 million dollars). Upcycling involves reusing existing materials to create a new product, such as making a bag from a pair of jeans. This process increases the value of the residual product, turning textile waste into a business.

The Varennes-Vauzelles-based company last raised funds in 2023. That 2.7 million euro round was used to develop an automated cutting system. Losanje then demonstrated the scalability of this method with a successful patchwork clothing line for the fashion brand Faguo.

Existing investors UI Investissement and Crédit Agricole are participating again. New backers include the platform Lita and family office Evolem. Public sector contributors include the French agency for ecological transition (ADEME), state bank Bpifrance, and the Bourgogne-Franche-Comté region.

The goals for the coming years include increasing production capacity, purchasing advanced industrial machinery, and hiring engineers. Additionally, the company will soon relocate to a new 2,500 square metre facility in the nearby city of Nevers.

In his LinkedIn post, co-founder Simon Peyronnaud outlines a new fashion universe where his company plays a revolutionary role on par with Vinted.

Peyronnaud started the company six years ago in 2020 with partner Mathieu Khouri. In the post, he confirms that last year, 50 clients were supplied with 150,000 upcycled textile products. He aims to increase that number to six million items of clothing and accessories by 2030.

The capital injection into Losanje is another significant French push towards circular textiles. For example, last year the company Reju announced the construction of a polyester (PET) recycling factory in Sittard, funded by the Dutch government. Meanwhile, the American poly-cotton recycler Circ is building a 450 million euro facility in the northeastern French city of Saint-Avold.

Khaite and Oliver Peoples unveil a new capsule collection of sunglasses and optical frames, bringing together the distinctive identities of both brands through a refined and contemporary approach to eyewear. The collection introduces bold new silhouettes, sculptural proportions and elevated finishes that merge timeless sophistication with a modern edge.

At the heart of the collaboration is Khaite’s signature duality — strength and softness, minimalism and sensuality — translated through the craftsmanship and subtle detailing synonymous with Oliver Peoples. The result is a series of frames that feel both statement-making and understated.

Vintage-inspired influences are reimagined through sleek curves, oversized constructions and sharp architectural lines. From cat-eye shapes to fluid wraparound silhouettes, the collection balances classic references with a distinctly contemporary attitude.

The palette moves between glossy black, warm honey tones and soft neutrals, complemented by grey and amaretto lenses that add depth and contrast. Thick acetate finishes and sculpted temples further enhance the collection’s sophisticated character.

Subtle design details create a connection to Khaite’s broader accessories universe, echoing the clean lines and modern precision found throughout the brand’s handbag collections. Each frame carries a discreet yet recognizable signature.

The Khaite x Oliver Peoples collection is available now through Oliver Peoples, Khaite, selected opticians and flagship boutiques worldwide.

The Council of Fashion Designers of America (CFDA) has named Gabriela Hearst and Joseph Altuzarra as new members of its board of directors. The news was confirmed by WWD.

Both designers have already been long-term members of the organisation, Hearst having joined in 2012 and Altuzarra in 2013. They will sit alongside CFDA chairman Thom Browne, vice chairs Prabal Gurung and Aurora James, treasurer Stacey Bendet, and general secretary Maria Cornejo.

Other designers on the board include Michael Kors, Diane von Furstenberg, Tory Burch, Vera Wang, Ralph Lauren, Dao-Yi Show, Tracy Reese, Norma Kamai and Stan Herman, with model Bethann Hardison holding another position.

In a statement, Steven Kolb, president and CEO of the CFDA, said it was an honour to welcome Hearst and Altuzarra, “who each cultivated a language of luxury that is at once personal and attuned to the world around them”.

“Their voices bring a thoughtful perspective on craft, responsibility and the future of design. I look forward to their contributions to the board and the dialogue ahead,” Kolb added.

Altuzarra commented: “The CFDA has long played a vital role in championing American fashion and supporting designers at every stage of their journey, including my own. I’m grateful for the opportunity to contribute to an organisation that has fostered such a strong sense of community, creativity and mentorship within our industry.”

In Pictures

British designer Paul Smith has launched a limited-edition collection with his friend, Gabriela Hearst, centred around their “shared sensibility around craft and design”.

The collaboration is described as having been “developed organically from a mutual passion for craftmanship and tailoring,” drawing on their longstanding friendship, love of nature, and their shared inspiration of family, particularly Smith’s father and Hearst’s grandmother.

The capsule spans 14 men’s and womenswear pieces alongside accessories and takes inspiration from two archival photographs taken by Paul Smith’s father in the British countryside during the 1950s and 1960s, with one capturing a mountain landscape and the other a waterfall.

The pair have then used traditional tailoring as a canvas, juxtaposing the mountainscape and waterfall across a silk satin trench coat and bias-cut slip dresses, as well as an all-over print on Italian-made virgin wool barré suiting, and a soft cashmere sweater in space-dyed Welfat yarn, which has been hand-knitted by Manos del Uruguay, a nonprofit cooperative supporting economic independence for women in rural communities.

The collaboration also includes reimagined versions of Gabriela Hearst’s signature Nina and Demi top-handle bags, featuring the mountain landscape print.

The Paul Smith + Gabriela Hearst collection is available through Paul Smith boutiques and the brand’s online store, as well as Gabriela Hearst flagship locations in London, Beverly Hills, and New York, and the designer’s website. Paul Smith + Gabriela Hearst collection photographed by Cathy Kasterine

Luxury e-tailer Net-a-Porter is facing a strike from 100 workers at its distribution centre in London. Deliveries are expected to be “savaged” due to the industrial action. The warehouse currently remains in operation, the company confirmed.

The walk out, which was expected to take place between May 20 and 21, comes in response to the company’s alleged failure to pay the London Living Wage to its lowest-paid staff, GMB Union said. According to the organisation, members claimed to have been made to feel under pressure for participating in the run up.

In a statement, Craig Prickett, GMB regional organiser, said such action is “always a last resort”, adding: “Our members want a fair resolution, and we would welcome the company coming back to the table with an offer we can present to the workforce, one that meets the expectations set by Net-a-Porter’s own previous commitments.”

Prickett continued: “This dispute can still be resolved without any disruption to distribution if the company chooses to act now before the action takes place. Our members were given assurances about the London Living Wage, so all they are asking for is what was promised to them.”

In a statement to FashionUnited, LuxExperience, Net-a-Porter's parent company, said: “LuxExperience acknowledges and fully respects our employees' right to take industrial action.

"Our priority remains that we recognise the vital contribution of our employees and remain open to engaging in constructive dialogue with union representatives as we navigate the next steps in this process, whilst ensuring we protect the long-term sustainability of our business.”

The strike comes as Net-a-Porter’s financial positioning continues to improve under the turnaround strategy of LuxExperience. Earlier this week, the Germany multibrand group reported the stabilisation of revenues during the Q3 of 2026, with the luxury segment, including Net-a-Porter, anticipated to show further improvements.

In a statement, LuxExperience CEO Michael Kliger said: “Net-a-Porter and Mr Porter, as well as Yoox, showed further sequential improvements, which are fully in line with our ongoing transformation plan for both segments. We are fully on track to achieve our forecasted results for the full 2026 financial year.”

This article was updated May 21, 12pm CEST to include a statement from LuxExperience and an update on the status of the warehouse's operations.

Herzogenaurach-based sportswear company Puma has appointed Dennis Schröder as managing director Europe.

Schröder will take on his new role from August 17 and will report to chief commercial officer (CCO) Matthias Bäumer, Puma announced on Thursday. He takes over the European business from Javier Ortega, who will “step down from his position” in August.

“With his strong combination of brand and retail expertise, European and international management experience, and his deep understanding of the sports industry, Dennis has the ideal profile to lead the Europe region at Puma into the next phase of strategic development,” said Bäumer.

Former Snipes CEO moves to Puma

The new head of Europe brings extensive international leadership experience in sports, omnichannel retail, sales and team sports, according to the Herzogenaurach-based company. He joins from Snipes, where he succeeded the founder of the Cologne-based streetwear retailer, Sven Voth, as CEO at the beginning of 2024. Prior to that, he was general manager Europe for Snipes for almost a year. At the end of March, it was announced that Samuel Deichmann would take over the leadership of the retailer.

Before his time at Snipes, he worked for the digital sportswear retailer 11teamsports and for sportswear companies Nike and Puma. He is now returning to his former employer, where he held various sales positions between 2010 and 2015.

“Returning to Puma, where I started an important part of my career, feels like coming full circle,” said Schröder. “I look forward to building on Puma's great history, strong global presence and clear identity in sport and culture.”

Delphine Arnault, chief executive officer of Dior, has announced a reassessment of the house's pricing policy for certain products, reports the Financial Times. The announcement was made at the Business of Luxury conference, organised by the British newspaper and held on Monday in Puglia. The head of the LVMH group's second-largest brand by turnover stressed the desire to win back a clientele put off by the sharp price increases of recent years.

“We are working hard on our leather goods offering and we are being very cautious about pricing,” Arnault said during her speech. She also added: “You cannot increase the price of a product without enhancing the perception of its quality. This is an essential point.” For reference, the management specified that the price of the Lady Dior bag, one of its bestsellers, has not seen any increase since 2023, except for adjustments strictly related to the devaluation of two currencies.

Creative renewal as a recovery lever

This pricing caution is part of a broad period of strategic renewal. Last year, the house appointed Jonathan Anderson (former creative director of Loewe) as artistic director to revitalise the brand's image and curb the decline in sales observed amid a general slowdown in the sector. Last week, the designer also presented his sixth collection for the brand and his first Cruise show in Los Angeles.

Jonathan Anderson's first creations for the house went on sale in boutiques on January 2. According to information reported by the Financial Times, this initial delivery deliberately included several items at more affordable prices, with the aim of concretely illustrating the brand's new aesthetic and evolving commercial strategy.

Hyper-luxury has its limits

Dior's initiative highlights the limits of hyper-luxury and the price increases implemented in recent years by many brands in the sector, such as Louis Vuitton or Chanel. This increase has had the effect of alienating affluent consumers: the aspirational customer; the fashion enthusiast with a good salary; and the occasional visitor to a brand they admired. As a result, several major houses have reported a slowdown in demand. The comments made by Dior's chief executive officer, as well as press reports about a price review within the Kering group's brands, demonstrate that things are about to change.

The ongoing price reduction and the introduction of more accessible pieces show that the industry is considering rebalancing its offering. The market is moving away from ostentatious pricing towards authentic perceived value. Prices, however, remain high but are justified by production realities, with luxury companies increasingly emphasising their artisanal focus.

Charlotte Gainsbourg, actress and musician, was born in London and raised in Paris, the daughter of Jane Birkin and Serge Gainsbourg.

Her career began at 13 with her acting debut in Paroles et Musique and her musical debut with "Lemon Incest," a duet with her father. She won a Cesar Award in 1986 for L’Effrontée and released her debut album that same year, produced by her father, accompanying the film Charlotte For Ever. She has since released four more albums, including the grief-channeling Rest (2017), following the deaths of her father and sister, Kate Barry.

Her successful collaboration with director Lars von Trier started in 2009 with Antichrist, earning her the Cannes Best Actress award. This partnership included roles in Melancholia (2011) and Nymphomaniac (2013). In 2021, Gainsbourg directed and produced the documentary Jane par Charlotte, exploring her relationship with her mother, two years before Birkin's passing.

Though a reluctant fashion icon, Gainsbourg is seen as an original figure of glamour and cool. She has modeled for major houses like Balenciaga and Yves Saint Laurent; YSL's Anthony Vaccarello directed her music video for “Blurry Moon.”

In this episode of Fashion Neurosis, Charlotte Gainsbourg joins Bella Freud to discuss powerful paternal relationships, her work with Lars von Trier, and themes of love and grief.

Irisphera, the fashion-tech company transforming how consumers experience fashion online, has officially announced a strategic partnership with Oracle. The collaboration marks a significant milestone in the company’s development and positions Irisphera as a leading enterprise-ready AI infrastructure provider shaping the future of global fashion commerce.

As the retail industry continues to face rising return rates, increasing operational costs, sustainability pressures and intense competition between brands, Irisphera addresses what it identifies as a core structural inefficiency in online fashion: uncertainty at the moment of purchase.

Its AI-powered Virtual Try-On technology enables consumers to visualize garments on their own image within seconds with hyper-realistic accuracy. This transforms online shopping from passive browsing into confident, informed decision-making.

According to Oracle: “If you are looking for the latest AI tool to help customers with their fashion purchases then you should certainly visit Irisphera. It really helps with purchasing clothing online”

The impact of the technology extends beyond customer experience. By eliminating uncertainty before checkout and enabling more confident purchase decisions, Irisphera states that brands can reduce returns by up to 30 percent, achieve conversion rates up to three times higher, minimize waste from reverse logistics, and improve profitability at scale.

From consumer feature to enterprise-grade retail infrastructure

Rather than positioning itself as a standard e-commerce feature, Irisphera defines its solution as enterprise-grade fit intelligence infrastructure: a scalable AI layer designed for the next generation of digital retail.

Through its partnership with Oracle, Irisphera gains access to enterprise-level retail environments and global infrastructure capabilities. This accelerates its international expansion and reinforces its position within the growing landscape of AI-driven infrastructure providers in fashion commerce.

The company is currently active across Europe, the Middle East, Southeast Asia and South America, including markets such as the United Kingdom, Italy, Portugal, Austria, Saudi Arabia, the United Arab Emirates, Qatar, Turkey, Indonesia and Colombia.

A Middle East partner added: “We highly recommend Irisphera to any brand looking to elevate their digital shopping experience with cutting-edge solutions”

To date, and supported by ecosystems including NVIDIA Inception and Oracle, Irisphera has processed more than 50,000 SKUs across multiple retail ecosystems. The platform integrates seamlessly within approximately 10 seconds into systems such as Shopify and WooCommerce, while the company is also in active discussions with enterprise-level fashion groups and global retail operators.

Built with a privacy-first architecture, the platform allows users to explore fit and styling without uploading personal imagery, while still delivering realistic silhouette and proportion visualization.

Real-world adoption and growing user engagement

Recent activations in the United States further demonstrated the growing demand for immersive AI-driven retail experiences. By combining Virtual Try-On technology with in-store activations and AI-powered experiences, Irisphera generated more than 500 interactions in just two days, with users repeatedly returning throughout the mall experience to test new looks and combinations.

At the same time, the number of active Irisphera users across its ecosystem became four times higher compared to the previous month, reinforcing a broader shift already taking place within fashion retail.

As Antonia Dumitriu, Co-founder and CEO of Irisphera, stated: “The future of commerce is no longer static, but intelligent, interactive, and personalized.”

Dumitriu, one of the emerging voices in fashion-tech, studied at Istituto Marangoni Milano and approaches the problem from a fashion-first perspective rather than an engineering-only lens. According to her, the industry has long excelled at creating online inspiration but has struggled to provide certainty at the moment of purchase. She believes fashion is now entering a new era in which fit intelligence becomes core retail infrastructure rather than an optional enhancement.

The core problem: uncertainty in fashion retail

“The biggest problem in fashion today is not demand, it’s uncertainty,” said Antonia Dumitriu.

Industry statistics indicate that 53 percent of shoppers return products due to sizing and fitting issues.

“Customers don’t return products because they don’t want them. They return them because the product doesn’t look or feel the way they expected,” she added. “Irisphera exists to eliminate that uncertainty before the purchase even happens.”

She continued: “Through our partnership with Oracle, we are scaling Irisphera as enterprise-ready AI infrastructure for the future of fashion retail.”

“The brands that will lead the next generation of commerce are the ones capable of delivering certainty, personalization, and precision at scale.”

Industry shift: from static commerce to intelligent retail

The partnership was officially introduced during an Oracle ecosystem event focused on AI, cloud infrastructure, modernization and enterprise innovation, where Irisphera presented its technology alongside global ecosystem partners.

As fashion continues to operate across both digital and physical environments, customer expectations are shifting rapidly. Shoppers now expect the confidence of in-store shopping without friction.

For brands aiming to lead in this environment, Virtual Try-On is no longer a futuristic extra. It is increasingly becoming a conversion tool, a return-reduction mechanism and a competitive advantage accessible not only to global giants, but also to mid-market and independent brands.

As brands expand their online presence, they require scalable systems capable of improving precision, reducing inefficiencies and supporting profitability at enterprise scale.

Within this transformation, Irisphera positions itself not as an add-on, but as infrastructure for the future of fashion commerce.

About Irisphera

Irisphera is a fashion-tech company redefining how customers experience fashion online. Through advanced Virtual Try-On technology, the platform enables users to visualize garments directly on their own image, transforming the way they understand size, fit, silhouette, proportion and styling before making a purchase.

The company’s proprietary technology differentiates Irisphera from many solutions entering the market. Built over the past four years, the platform aims to bring more precision, confidence and efficiency to online fashion retail.

Rather than functioning as a simple e-commerce add-on, Irisphera is designed as scalable retail infrastructure combining AI styling, hyper-realistic and ultra-fast Virtual Try-On, and immersive shopping experiences across both digital and physical retail environments. It supports the entire consumer decision-making journey, from discovery to confident purchase.

By introducing a new layer of clarity into the digital shopping journey, Irisphera shifts the experience from passive browsing into informed decision-making. The result is greater confidence, faster purchase decisions and more personalized interactions with fashion online. For brands, this translates into higher conversion rates, reduced returns and a more efficient, performance-driven e-commerce environment.

At its core, Irisphera bridges the gap between visual inspiration and personal certainty, redefining digital fashion not just as a space for discovery, but as a space for decisive, confident choice.

Book here your free demo with the CEO and discover how leading brands are using AI to improve margins.

• Antonia Dumitriu CEO & Co-founder: https://www.linkedin.com/in/antoniadumitriu/

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Madrid – In one of its most significant strategic initiatives this year, the collaborative capsule collection designed by Zara with Bad Bunny and his creative team went on sale this Thursday, May 21. With this collection, the main fashion chain of the Inditex group not only renews its offering for the spring/summer 2026 season but also, and above all, projects itself as an inspiring space for co-creation with leading artists.

From the brand everyone wants to buy from, to the brand everyone wants to collaborate with. This phrase summarises the paradigm shift and the change in “desirability” that seems to be reshaping Zara's strategic direction. Through this evolution, the brand is not rejecting its original appeal. Instead, it is doubling down on its goal of establishing itself as the “fashion house for everyone”. It has understood that collaboration is the best path for continued growth and momentum. The term “collaboration” was, until recently, completely absent from the Inditex universe and its fashion chains. Now, it has become a leading principle, as demonstrated by today's launch of the collaborative capsule designed by Zara with Bad Bunny. On a business level, this collection aligns with the strategy set for the group this year by Inditex's management. This was highlighted by its chief executive officer, Óscar García Maceiras, during the presentation of Inditex's 2025 annual results on March 11.

“Flexibility is one of the main strengths of our business model, and I believe it is a competitive advantage in today's rapidly changing world,” stated García Maceiras during the results presentation. “We have flexibility thanks to the work of our more than 700 designers, who can react swiftly to any new trend.” This work helps maintain the constant dynamism of Inditex's commercial offering. The chief executive officer of the Spanish fashion multinational also highlighted that, “in 2026, we will continue to collaborate with global figures from the worlds of design, culture and art.”

Latest instalment of the Zara x Bad Bunny collaboration

This capsule developed by Zara with Bad Bunny is the latest instalment of a determined roadmap. It balances the aspirational nature of collaborations with the mass sales that drive financial results. As FashionUnited reported earlier this week, this collection is the latest in a series of collaborations between the chain and the Puerto Rican singer throughout the year.

The management of the Inditex chain notes that the first pieces of this collection were not today's release. The collaboration began with the outfits Bad Bunny wore on February 8 infront of more than 100 million viewers during his Super Bowl halftime show. It continued with the black tuxedo he wore to the Met Gala on May 4. All these outfits were co-designed by the singer as part of his collaboration with Zara. This collaboration has now been made available to the public through this capsule collection. The design process for these pieces followed the same dynamics as those used for the iconic Super Bowl and 2026 Met Gala looks.

The collection is presented under the name Benito Antonio, the Puerto Rican singer's real name, not his stage name. This decision reflects the focus that Zara and Bad Bunny sought to maintain throughout their collaboration. The perspective aimed to highlight his most intimate artistic and stylistic sensibilities. This makes it a sincere dialogue of co-creation between the brand and the singer, rather than just another collaboration with a “fashionable artist”. The conversation also involved some of the Puerto Rican's closest collaborators. These included his creative director, Janthony Oliveras, who was tasked with translating Bad Bunny's personal style into the collection. Also involved was Stillz, the pseudonym of photographer Chris Villa, who is responsible for some of the most iconic visual moments of the singer's career. Stillz shot the campaign material, which features Bad Bunny and was launched from Puerto Rico.

“Benito Antonio” is “a collection born in Puerto Rico and rooted in the personal world of Benito Antonio Martínez Ocasio; in the places that shaped him, the instinct that has guided him and the identity that defines everything he creates,” stated Zara. “It is born from a deep connection with the Caribbean,” they poetically emphasised. The collection is based on a “visual identity” that “was developed with M/M Paris in direct collaboration with Benito, taking as a starting point the visual language that has always been part of his universe.” This includes elements like “electric poles, urban infrastructure, artisanal textures and those details of daily Puerto Rican life that often go unnoticed until someone decides to look at them from another perspective.” This view of the island's uniqueness and its people “has always been at the centre of Benito's artistic vision.” It also served as the backbone of the collection, guiding the co-creation work by Janthony Oliveras. Zara emphasised that the collection is “more than a collaboration,” it is “a reflection of who Benito is, his identity, his creative evolution and the perspective that has always made his work impossible to ignore.”

“My role was to bring Benito's current style to a collection, not last year's, not next year's. The style of now,” said Janthony Oliveras, Bad Bunny's creative director, about his involvement in the capsule's development. “Being so close to him, I could be precise.” He added that he could “imagine him wearing every new piece we created.” “From the second visit to A Coruña, with the first samples in hand, I knew we had managed to capture his essence. There is something very special about this collaboration,” which he described as “the union of two Spanish-speaking worlds.” “Zara gives us the opportunity to take that everywhere, making it accessible to everyone.” He concluded, “I want people to feel part of a dream with this collection. I want them to understand that simple is not boring. Seeing this work reach the world means everything to me; it feels like my baby.”

150 pieces inspired by Bad Bunny's personal style

Following a surprise pre-launch on Saturday, May 16, at the Zara store in the Plaza Las Américas shopping centre in San Juan, Puerto Rico, the collection was officially released. The global launch took place online in the early hours of May 21. Today, the collection also arrives in physical stores. It will be available in a wide selection of Zara locations across a total of 41 markets, including Spain, the US, China, Mexico and Argentina.

The collection materialises the singer's creative uniqueness, a strategy that supports Zara's goal of becoming the “brand everyone wants to collaborate with”. It consists of 150 pieces, including T-shirts, trousers, sweatshirts, shirts, blazers and polo shirts. All items are genderless and designed for both men's and women's wardrobes. Prices range from 19.95 euros for a basic short-sleeved “cropped fit” T-shirt to 35.95 euros for boxer-style swimming trunks and 129 euros for a “cropped fit” blazer.

Based on a colourful palette of Caribbean hues, the collection features a symphony of colours. It ranges from deep blacks to warm pastel yellows, including moss greens, sandy whites, turquoise and navy blues, stone greys, earthy browns, sunset pinks and coral oranges. These colours are mostly used in monochrome, alongside striped and checked patterns. The collection includes illustrated caps, T-shirts, sweatshirts and bags. It features oversized and “cropped fit” silhouettes, representing a Caribbean take on traditional menswear. Key pieces include more casual versions of the black and white tailored ensembles that Zara and Bad Bunny's team developed for the Super Bowl and the Met Gala.

“The 150-piece collection is based on a single principle: Benito's own vision,” the fashion brand noted. From there, “every detail, the silhouettes, the colours, the graphics, the fabrics, the fit, was worked on with intention and instinct” by Zara, “together with his creative director Janthony Oliveras.” The resulting pieces are “a reflection of how Benito has always dressed: effortlessly, with self-expression and completely true to himself.” The collection includes “tailoring, oversized basics, textured garments, bold graphics and summer pieces,” and exudes “the confidence, individuality and ease that have always defined him.”

New York - French fashion house Louis Vuitton merged ruffles, biker-style leather and the pop graphic art of Keith Haring for its cruise 2027 collection. The brand presented the collection on Wednesday evening in a star-studded show at a New York museum.

Watched by Zendaya, Anne Hathaway and Cate Blanchett, the artistic director of Louis Vuitton's womenswear line, Nicolas Ghesquière, unveiled a collection based on contrasts and bursts of colour.

Structured leather jackets were paired with fluffy Medici collars.

The showcased outfits were splashed with the orange, pink and green colours characteristic of the Pop Art movement. They also featured dark purple, dusty pink and teal.

In heels or trainers, the models wore metallic footwear. Their legs were on display in boxer-style shorts, cycling shorts or tailored Bermuda suits.

Hats, either bucket or cloche style, topped off the outfits. Otherwise, the models' hair was worn loose and styled with the horizontal streaks popularised by figure skater Alysa Liu, the brand's new ambassador.

The show took place at The Frick Collection, marking the first time the museum has hosted a fashion event since its renovation last year.

A former steel magnate's mansion, the art gallery boasts an impressive collection of European paintings and works of art dating back to the Renaissance. The models walked the runway under arches and famous art pieces.

"Inside the timeless rooms of The Frick Collection, beauty and art transcend time in a silent dialogue," LV posted on Instagram, as the brand and the museum announced a three-year patronage partnership.

Louis Vuitton will fund three major temporary exhibitions and will organise free evenings for visitors outside of the museum's regular hours, on the first Friday of each month for a year.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereinafter “YKK”) has been selected for top honors by the international environmental non-profit organization CDP (*1) as a Supplier Engagement Leader in their FY2025 Supplier Engagement Assessment (*2) for the fourth year running.

This recognition shows YKK has been assessed as a global leader through its establishment of an effective framework for reducing GHG emissions across the entire supply chain through the clarification of its governance structure and targets, as well as initiatives to reduce GHG emissions in collaboration with suppliers.

In December 2025, YKK was recognized with the top “A” rating in the 2025 Climate Change Survey, which was also conducted by CDP, for the third consecutive year. Going forward, YKK will continue to work on climate change initiatives and transparent disclosure of information, based on the net-zero target outlined by the Science Based Targets (SBT) initiative.

Comment from Takayuki Aoki, Vice President, Procurement & Logistics Department, YKK Corporation

“Since the YKK Sustainability Vision 2050 was formulated in October 2020, we have engaged in various initiatives to achieve our targets. We are guided by the YKK Philosophy of the CYCLE OF GOODNESS ® , which states that “No one prospers without rendering benefit to others.” In addition to our own activities to reduce GHG emissions, we also collaborate with our suppliers via engagement activities to promote initiatives to contribute to reducing emissions globally. Specifically, we are engaging in discussions with strategic partners who share our vision regarding the expansion of production capacity and global supply, with the aim of further expanding the impact of reducing emissions. We are also working to develop an effective structure for reducing GHG emissions through dialogue regarding the presentation of LCA values (*3) verified by third parties. We will continue to enhance our collaboration with our suppliers to help reduce our environmental impact and contribute to bringing about a sustainable society.”

*1 CDP: An international non-profit organization with a global system to disclose environmental information by companies and local governments. Since its inception in 2000, the CDP has led efforts to encourage companies to disclose their environmental impact, reduce GHG emissions, and protect water resources and forests by leveraging capital markets and corporate purchasing power. The organization sends surveys to companies about their environmental activities, then analyzes and evaluates their responses. The number of companies disclosing their data through CDP is on the rise, with over 22,100 companies worldwide that disclosed their environmental data in 2025.

*2 Supplier Engagement Assessment: Companies that respond to the CDP Climate Change Questionnaire and receive the highest rating in their efforts to reduce CO₂ emissions in collaboration with their suppliers, in addition to their climate change score, are selected as “Supplier Engagement Leaders.” View the following for more information on Supplier Engagement Leaders.

*3 Life Cycle Assessment: A methodology for assessing the environmental impact and potential impact of the complete product and process life cycle (raw material extraction, production, consumption, and disposal). Reference standards are ISO 14040 and 14044.

State of Progress Toward the YKK Sustainability Vision 2050

YKK Corporation’s sustainability goal is to achieve climate neutrality by 2050. YKK is working on five themes – Climate Change, Material Resources, Water Resources, Chemical Management, Respect People – and ten SDG goals related to each of these, and each year reports on its state of progress in the YKK Integrated Report, “This is YKK.”

Sustainability and the YKK Philosophy of the Cycle of Goodness ®

YKK is constantly pursuing the creation and realization of a sustainable society through our business. At the core of all our corporate activities is the philosophy of YKK founder Tadao Yoshida, the Cycle of Goodness ® . The idea that “no one prospers without rendering benefit to others” clearly expresses the YKK Group’s corporate spirit of continuing to prosper together with society, customers, related industries, and employees, and is highly compatible with sustainability.

Tadao Yoshida repeatedly shared the essence of this corporate spirit with employees in a variety of ways. His words “business is like building a bridge,” which are connected to the Cycle of Goodness ® , can be understood in terms of the SDGs, as he believed that unless we benefit society as a whole, we will not be able to prosper ourselves. The words “manufacturing like clear spring water” and “trash can be a great resource if it is utilized with ingenuity” are linked to environmental consideration, and the words “the strength of a forest is better than a big tree” are linked to respect for human rights and individuality. Today’s circumstances and context differ significantly from the time when our founding president spoke these words, but a philosophy that is highly compatible with sustainability has nevertheless been at the core of YKK’s management since those early days. It continues to be inherited at the company even today, more than 80 years later.

Michael Kors is excited to announce a new capsule, debuting in June, designed in collaboration with artist Christina Zimpel. Zimpel’s colorful, optimistic illustrations align perfectly with the brand’s sunlit, easy-chic designs for the season, inspired by the campaign’s backdrop of Saint Tropez.

The artist, long admired by designer Michael Kors, has created two unique artworks for the brand, one a sunny beach scene in vibrant blues and yellow, the other a stylized take on Saint Tropez’s iconic belltower rendered in forest green, hot pink, orange and white.

Printed on sarongs, shirt dresses and short-and-shirt sets of fine, soft cotton, as well as on canvas totes, bucket hats and small leather goods, the prints evoke the light and charm of a Riviera escape.

“When I first came across Christina’s work years ago, I was drawn to the optimism and the joy in what she did,” says designer Michael Kors. "I also love that her work has such a strong sense of place — it instantly transports you. This summer felt like the right time for a wardrobe filled with that sunny, uplifting aesthetic.

Marquee Brands has announced a definitive agreement to acquire a majority stake in Roberto Cavalli, through a strategic partnership with the Dubai-based Damac Group.

Closing of the transaction is expected in the second quarter of 2026

The transaction is expected to close in the second quarter of 2026, after which Damac Group will “remain a significant shareholder,” a statement read. Founded in Florence in 1970, Roberto Cavalli joins Marquee Brands' portfolio of global brands, which includes Martha Stewart; Laura Ashley; Sur La Table; Bcbgmaxazria; and Stance. “The addition of Roberto Cavalli further strengthens Marquee Brands' position as a leader in the luxury and lifestyle sectors, bringing total retail sales for the entire portfolio to approximately five billion US dollars,” the statement continued.

“Roberto Cavalli stands as one of Italy's defining luxury fashion houses, with a bold creative identity and an enduring brand identity,” said Heath Golden, CEO of Marquee Brands. “We see extraordinary potential to build on this foundation through careful brand management and strategic expansion. In partnership with Damac, a leader in luxury real estate, we will continue to elevate the Roberto Cavalli experience worldwide.”

Marquee Brands announces The Level group as primary operating partner

“Roberto Cavalli is one of the most distinctive luxury brands in the world. After several years dedicated to consolidating the brand's foundations, we sought a strategic partner with the necessary expertise to take the brand to the next level. We are confident that Marquee Brands is the right partner to do so. Given our love for the brand and our significant ongoing shareholding, we look forward to supporting Marquee Brands' efforts. This includes continuing to expand the Roberto Cavalli lifestyle through branded residences and hospitality projects in key global destinations, an area that remains wholly owned and managed by Damac. This collaboration marks a new and exciting era for the brand. We look forward to its significant future expansion,” added Hussain Sajwani, founder of Damac Group.

Marquee Brands will accelerate Roberto Cavalli's growth by introducing new categories, services and experiential touchpoints. The press release specifies that this expansion will occur in Europe; the UK; the US; the Middle East; Asia-Pacific; and Latin America.

Damac will continue to develop the brand's presence through Roberto Cavalli-branded residences and hospitality projects in key global markets, strengthening the brand's luxury positioning and appeal. “The partnership creates a powerful platform that combines Marquee Brands' expertise in global brand development with Damac's leadership in luxury real estate and hospitality, unlocking significant new opportunities for the future of Roberto Cavalli.”

As part of the transaction, Marquee Brands has announced that Milan-based The Level Group (TLG) will be its primary operating partner. The Level Group will lead the development, production and distribution of the brand's womenswear and menswear collections, ensuring a unified and elevated product vision in key markets. In addition, Tlg will assume responsibility for retail and e-commerce operations and wholesale distribution in Europe and the US, strengthening Roberto Cavalli's direct-to-consumer presence and global retail strategy.

US lifestyle products and services company Urban Outfitters, Inc. has announced that the total company net sales for the period increased 11.4 percent to 1.48 billion dollars. Net income reached a record 115.7 million dollars, with earnings per diluted share standing at 1.30 dollars.

Total retail segment net sales increased 8 percent, with comparable retail segment net sales increasing 5.6 percent. The growth in retail segment comparable net sales was driven by high single-digit positive growth in digital channel sales and mid single-digit positive growth in brick and mortar store sales.

Positive growth across brands and channels

Comparable retail segment net sales increased 9.8 percent at FP Group, 9.3 percent at Urban Outfitters and 1.9 percent at Anthropologie. Subscription segment net sales increased 34.5 percent, driven by a 33.3 percent increase in average active subscribers, while wholesale segment net sales increased 24.8 percent, driven by a 26.2 percent increase in FP Group wholesale sales due to an increase in sales to specialty customers.

“We are pleased to report record first quarter sales and earnings driven by positive retail segment ‘comps’ at all brands and impressive double-digit growth in both our Wholesale and Subscription segments,” said chief executive officer Richard A. Hayne. “Our customers remain engaged and are responding to compelling fashion trends, giving us confidence in URBN's continued success.”

Gross profit dollars increased 10.9 percent to 542.6 million dollars from 489.1 million dollars. However, the gross profit rate decreased by 16 basis points compared to the three months ended April 30, 2025. This decrease was due to a non-recurring gain of 4.8 million dollars, or 36 basis points, recorded in the prior year quarter that was not repeated in the current year quarter.

Off-price apparel and home fashions retailer the TJX Companies (TJX), which is based in the US, has announced financial results for the first quarter of fiscal year 2027 ended May 2, 2026, delivering growth that exceeded internal plans. The corporate group reported a 9 percent increase in net sales to 14.32 billion dollars in the first quarter of fiscal year 2026.

Consolidated like-for-like (LFL) sales, increased 6 percent during the period, driven by growth across all divisions and higher customer transactions. On a constant currency basis, net sales growth for the quarter was 8 percent, with foreign currency exchange rates providing a one percentage point positive impact.

Net income reached 1.33 billion dollars, up from 1.04 billion dollars in the prior year period. Diluted earnings per share (EPS) grew 29 percent to 1.19 dollars, compared to 0.92 dollars in the first quarter of fiscal 2026.

Division performance and sales metrics

The Marmaxx division, which includes TJ Maxx, Marshalls, and Sierra stores alongside their e-commerce platforms in the US, recorded net sales of 8.65 billion dollars, representing a 7 percent reported growth rate. LFL sales for Marmaxx grew by 6 percent during the first quarter.

The US HomeGoods division, which operates HomeGoods and Homesense locations, achieved net sales of 2.51 billion dollars, an 11 percent increase on a reported basis, with LFL sales rising 9 percent.

International operations also expanded during the quarter. TJX Canada, encompassing Winners, HomeSense, and Marshalls stores in Canada, recorded net sales of 1.29 billion dollars, up 12 percent on a reported basis and 9 percent on a constant currency basis, with LFL sales up 7 percent. TJX International, which covers TK Maxx and Homesense stores plus European e-commerce sites across Europe and Australia, reported net sales of 1.88 billion dollars, an increase of 13 percent on a reported basis and 7 percent on a constant currency basis, accompanied by a 4 percent increase in LFL sales.

Capital allocation and updated financial outlook

TJX generated 1.12 billion dollars in operating cash flow and concluded the first quarter with 5.58 billion dollars in cash and cash equivalents. The retailer returned 1.08 billion dollars to shareholders through the repurchase of 3.80 million shares of common stock for 604 million dollars and the distribution of 471 million dollars in shareholder dividends.

The corporate board previously approved a new stock repurchase program authorizing up to an additional 3.00 billion dollars of stock buybacks, leaving approximately 3.50 billion dollars available under all active programs as of May 2, 2026.

TJX ups outlook

Following the first quarter performance, chief executive officer and president Ernie Herrman stated that the spring/summer 2026 season was off to a positive start, prompting an upward revision for full year projections. Herrman remarked, “Availability of quality, branded merchandise is outstanding, and we are well-positioned to take advantage of the plentiful buying opportunities we are seeing in the marketplace”.

For the second quarter of fiscal 2027, TJX plans consolidated LFL sales growth of 2 percent to 3 percent, a pretax profit margin between 11.4 percent and 11.5 percent, and diluted EPS in the range of 1.15 dollars to 1.17 dollars.

For the full year fiscal 2027, the group raised its consolidated LFL sales growth outlook to a range of 3 percent to 4 percent. The expected full year pretax profit margin has been increased to a range of 11.9 percent to 12 percent, and full year diluted EPS expectations have been upgraded to between 5.08 dollars and 5.15 dollars.

Pepco Group N.V., a Dutch-registered, London-based holding company, has reported its unaudited interim results for the six-month period ended March 31, 2026, revealing substantial profit growth and an expansion of its retail footprint.

The pan-European variety discount retailer delivered revenue of 2.47 billion euros (2.87 billion dollars), representing a reported increase of 5 percent. Underlying profit after tax, or PAT, jumped by 52.3 percent to 198 million euros.

Commenting on the results, chief executive officer Stephan Borchert stated: “Beyond the revenue performance, our profitability has stepped up significantly. Strong gross margin expansion of 250 basis points, and the improved operational leverage of our Pepco business, have driven underlying EBITDA growth of 17.5 percent.”

Strategic pivot to core apparel and general merchandise lines

The positive results reflect the ongoing implementation of a transformation plan introduced at the capital markets day in March 2025. A key pillar of this strategy involved simplifying the group structure by exiting the FMCG segment to focus resources on higher-margin clothing and general merchandise categories.

Excluding the impact of the FMCG exit, group like-for-like revenue growth was plus 3.6 percent for the half year. The flagship Pepco brand recorded an apparel-driven LFL revenue growth of 4.6 percent when excluding FMCG, marking six consecutive quarters of positive LFL performance for the banner.

Accelerated expansion plans for brick and mortar network in Western Europe

Improved store economics in Western Europe, particularly across Iberia and Italy, have prompted management to significantly upgrade its regional expansion target. The group now plans to open at least 600 new brick and mortar stores in its existing Western European markets between financial year 2027 and financial year 2030, which will effectively double its regional presence.

During the first half, the group opened 61 net new stores across its portfolio, bringing the total European network to 4,420 locations. While expansion continues rapidly in southern Central and Eastern Europe, the group is also planning a carefully managed trial of new stores in select areas of Ukraine by the end of the 2026 calendar year, leveraging existing brand awareness among repatriated citizens.

Enhanced capital return framework and structural changes

The group reconfirmed its full year financial year 2026 guidance, expecting revenue growth of 6 percent to 8 percent and net underlying earnings growth of at least 50 percent. Supported by a robust balance sheet and pre-IFRS 16 net debt of 139 million euros, Pepco Group announced a refreshed capital allocation framework to upgrade shareholder distributions.

The retailer intends to complete a special one-time capital return of up to 400 million euros in financial year 2026 via a pro-rata tender buyback. From financial year 2027 onwards, the group will return all excess prior-year levered free cash to shareholders through a mix of buybacks and dividends, with a target to progressively increase the regular dividend payout ratio to 40 percent over time.

Divergent performances across portfolio brands and senior personnel appointments

The group performance was driven entirely by the core Pepco banner, which generated 2.30 billion euros in revenue and an underlying EBITDA of 505 million euros. Trading at the Dealz Poland banner remained challenging, with revenues declining by 6.6 percent to 170 million euros and LFL revenues falling by 8.3 percent. The group remains committed to separating the Dealz business by the end of financial year 2026.

To reinforce this strategic direction, the group completed several appointments during the period. Sabine Zantis-Moeller, who previously held senior marketing leadership positions at Deichmann, joined as chief customer director in March 2026. Additionally, Robert Pernak was appointed as head of pricing and Sławomir Nitek was appointed as country manager for Poland.

US brand development and entertainment platform Authentic Brands Group (Authentic) has announced a significant evolution of its leadership structure as the company enters its next phase of corporate growth. Founder Jamie Salter has transitioned from chief executive officer to executive chairman. Matt Maddox has been promoted to the role of president and chief executive officer (CEO).

In his new role as executive chairman, Salter will remain deeply engaged in the business operations. His focus will center on strategic global growth, including mergers and acquisitions, global partnerships and alliances, alongside other long-term strategic priorities.

Shift in daily operations

Reporting directly to Salter and serving as a member of the board of directors, Maddox will assume responsibility for leading global enterprise execution and day-to-day operations. His mandate includes scaling the global platform, driving organic growth across the extensive brand portfolio, and deepening long-term value creation for shareholders and partners.

“This is an exciting step for all of us at Authentic,” Salter stated in a press release. “As Founder and Executive Chairman, I will continue to do what I've always done: being laser-focused on driving strategic, transformational opportunities that will position our peerless company for continued growth.” Salter added that he would remain actively involved, partnering closely with Maddox and the wider leadership team.

Maddox noted that Authentic has built one of the most powerful and differentiated global commerce platforms in the consumer ecosystem. “I look forward to working side by side with Jamie to build on that foundation and accelerate our growth,” Maddox said, adding that the opportunity ahead remains significant for the group.

Global platform expansion

Since its inception 16 years ago, Authentic has expanded from a single brand into a global enterprise spanning sports, entertainment, fashion, and culture. The portfolio currently includes more than 50 brands generating 38 billion dollars in system-wide retail sales.The company has consistently diversified its stakeholder model by welcoming partners such as Shaquille O'Neal, David Beckham, and Kevin Hart.

Authentic continues to manage a high-profile portfolio after acquiring and repositioning brands like Reebok, Champion, Sports Illustrated, Guess, Brooks Brothers, Ted Baker, Juicy Couture, and Billabong. The group maintains an extensive global footprint with strategic hubs operating in New York, Los Angeles, London, Mumbai, Mexico City, Shanghai, and Tokyo.

US footwear portfolio Caleres has announced the appointment of Dan Karpel as senior vice president and chief financial officer, effective immediately. Karpel will serve as the principal financial officer and principal accounting officer for the company.

Dan Karpel named CFO effective immediately

Karpel rejoined the US-based firm as chief accounting officer in October 2025 and was subsequently appointed to the role of interim chief financial officer in January 2026. He brings 30 years of accounting and finance leadership experience to the position. Prior to his return to Caleres, Karpel served as the chief financial officer of US car wash operator Club Car Wash Operating, LLC and CW Holdings, LLC. He also held chief accounting officer roles at Eyecare Partners LLC, Spectrum Brands Holdings, Inc. and Brown Shoe Company.

“Dan’s deep understanding of our company, combined with his extensive financial and accounting expertise, has made him a valuable strategic partner since rejoining Caleres and taking the role of interim CFO,” said Jay Schmidt, president and chief executive officer of Caleres. “His leadership and commitment to driving results as our CFO will be instrumental as we continue to advance our growth strategy.”

First quarter financial outlook

The US footwear group plans to report its first quarter financial results on June 4, 2026, prior to the market opening. The company currently anticipates total sales to reach 667 million dollars for the period.

Earnings per diluted share are expected to sit in the range of 0.39 dollars to 0.41 dollars. Caleres projects adjusted earnings per diluted share to be between 0.35 dollars and 0.37 dollars.

Europe is currently experiencing a significant and enduring surge in running, fueled by factors like the post-pandemic focus on health, the emergence of Gen Z, and the increasing popularity of social run clubs. This robust trend offers an opportunity for brands with a heritage rooted in running. However, to harness this resurgence in a sustainable manner, they must first recalibrate their approach.

Saucony is one of those names outpacing the broader market. The business is continuing to transform under the scope of a considered and deliberate strategic rollout. Its turnaround in Europe is being guided by Cameron Black, vice president and general manager of Saucony Europe, Middle East, and Africa (EMEA), who was appointed to the role with the task of leveraging and capitalising on the brand’s heritage and reviving it for a younger, fashion-focused consumer.

Prior to Saucony, Black had been general manager of Hoka under Deckers Brands, and had served as a key player in the footwear label during a period of acceleration. Upon Black’s initial appointment, Hoka had been bringing in around 140 million dollars globally, and by the time he left it was approaching the two and a half billion dollar mark. Black saw a similar opportunity for growth and revival at Saucony, a heritage label founded in 1898 that had been in decline under its parent group, Wolverine Worldwide.

Since Black’s appointment nearly three years ago, however, there has already been a significant change. In the American footwear giant’s most recent financial report for the fiscal year 2025, Saucony was credited with driving group performance, with sales amounting to 533.1 million euros, a 31.14 percent uptick on the year prior.

“The momentum behind Saucony right now, particularly in Europe, is pretty unrivalled,” Black said. “We’ve managed to turn around a brand that a retailer had once called ‘dusty’ into a one it now describes as ‘radical’. That’s really been my journey to now with Saucony, and it’s a really exciting time to be a part of the brand.”

The Move Makers and an activation marketing format

Black’s first steps at Saucony centred around the implementation of a brand-building model, while also shifting focus towards a specific consumer group in the 25 to 35 year old range. Internally dubbed the ‘Move Makers’, the audience is trend-conscious and fashion-leading, marking a departure from an inherently sports-centric positioning and moving Saucony closer to its mission of blending performance and lifestyle.

In targeting this group, a change in perception was needed and ultimately achieved by moving marketing spend away from sales activation, trade marketing and lower-funnel conversion, which had accounted for 97 percent of the budget, primarily towards brand activation, which now makes up 65 percent of the budget.

“That singular focus has allowed us to over-invest in that consumer group, and in doing so, transformed the perception of the brand,” Black said. “Saucony has become younger, cooler, and more trend-driven, and that consumer group is now creating a halo effect across broader demographics as well. Whether the group were buying lifestyle or performance products, we treated them as one unified customer. We see Saucony at the intersection of running culture, lifestyle and performance, so we didn’t want to separate audiences for each category.”

London as the blueprint for wider expansion

This approach extended into European rollout, for which London became the first and primary focus for Saucony in 2024. The challenge, Black said, was growing what was a relatively small brand within a setting dominated by companies boasting enormous budgets and resources. Around 70 percent of the brand’s European marketing spend therefore went towards London alone, with community marketing in particular taking centre stage.

“Our teams are deeply connected to those communities, they’re part of them, and in many ways, they are the target consumer themselves,” Black explained. “We restructured the organisation around that idea.”

Two significant initiatives took shape in London, which eventually formed a blueprint for how the brand is planning and expanding into new markets. The Saucony 10K is a core pillar. The event’s London edition launched in 2024, and this year sold out with over 20,000 runners taking part. Participants were firmly rooted in Saucony’s target group and also participated in smaller activations like the Shoreditch Run Club, creating a community from people in need of a physical space.

Covent Garden was then selected as the site for the brand’s debut UK flagship, chosen for its strong footfall and central location. The two storey space is described as a “cultural hub” for this running community, where the brand’s heritage is emphasised across a multifunctional setting. “The store is doing exactly what we hoped it would do; it has become a genuine community hub for the brand in London,” Black said.

The location built on Saucony’s small presence in the UK, where it already operated an outlet store in Cannock. Akin to the post-pandemic strategies of other retailers, this site responded to the need to deal with excess inventory in a clean, effective way, but is not central to how Saucony is growing in the present day. “We obviously want those outlets to perform well, but from a broader retail perspective our focus is on ensuring that the Paris and London flagship spaces are doing their job in building the brand,” Black said.

Nearly a year on from its regional store debut, Saucony has found a solid base in the UK. “Next year, we’re on track to grow the UK market to five times what it was in 2024,” Black reported. “That acceleration has come from over-investing in year one and then continuing that investment over time, with the store playing a central role in driving awareness and hosting weekly activations.”

The Parisian Pioneer Hub

Saucony has since been translating the London blueprint for Paris, where the company held its first 10K event in December and is currently preparing for the opening of its ‘Pioneer Hub’ flagship. Due to launch in August, the five-floor building combines retail, showrooms, event spaces, and offices, creating a multifaceted hub where teams working on the Parisian market will also be based, “creating a much deeper connection between the brand and the community”, Black noted.

Activations will then extend into Paris Men’s Fashion Week, with the hub to play host to an inaugural event during the January 2027 edition. Involvement in the fashion week is imperative to Saucony’s mission of repositioning as a “true run-lifestyle brand”. ”We’re fortunate because Saucony has such a rich archive of products,” Black added. “We can draw from different eras and trends, from the 70 right through to today. At this point, we genuinely see ourselves as equally a lifestyle and performance running brand.”

Even before the hub’s opening, Saucony’s popularity in France had already soared. To test the market, the brand opened various Parisian pop-ups, introducing its running-focused concept to the local consumer base. As a result, Saucony saw interest in its running category rise 487 percent in France, largely driven by Paris-based consumers, making the city one of Saucony’s key global cities, alongside London, New York and Tokyo.

This has also been reflected in the response to the product. The “running-inspired” Omni 9 shoe, for example, has become the brand’s top selling silhouette, welcoming a 1,400 increase in clicks-to-page in the UK over the past year. The lifestyle category, meanwhile, is also up 4,500 percent in impressions, an ode to the team’s ability to craft products for their consumer base, with attention to colour, aesthetic, and shape, while maintaining a global perspective.

How these products are then rolled out onto the shop floor is integral. In Covent Garden, where the consumer demographic is largely defined by tourism traffic, Saucony has found that shoppers lean towards comfort and cushioning, rather than racier, speed-oriented running styles. Black suspects Paris may differ.

“It’s a far more fashion-oriented district, and other brands in the area also lean heavily into lifestyle positioning. We expect the Paris consumer to align even more closely with our Move Maker profile – a fashion-oriented but still active consumer.”

A market-by-market approach

This thought-out rollout is prevalent in many of Saucony’s decisions, including in which markets it is looking to move into next. “What’s important for us is that when we enter a city, we do it properly. We don’t want to stretch our budgets so thin that we can’t execute at the level we want to,” Black said.

Berlin has been identified as a secondary priority market, as reflected in plans to host the city’s inaugural Saucony 10K, due to take place June 20. The event was described by Black as the “first major step in over-investing into Germany with a sustained long-term strategy”, which can now be made without sacrificing investment elsewhere. “In fact, we’ve continued increasing investment in both London and Paris,” Black noted.

Next year, Saucony will then begin introducing similar activations in Milan. Akin to the UK, Saucony already operates a number of outlets in Italy, yet by applying its staple blueprint for market rollout, further plans for the region are likely underway. “Retail is definitely part of that blueprint, but we’re taking it one step at a time,” Black said.

This mindset is notable in a global market that has been relatively hesitant to fully embrace retail. However, as Black underlines, physical spaces are imperative to Saucony, particularly as it looks to cater to consumers seeking real-life experiences. “A major part of our strategy is becoming part of the communities we serve,” Black said. “To do that effectively, you need a physical location where consumers can gather and engage with the brand. That’s why Paris, London and future stores in key cities are such an integral part of the strategy.”

The scale of this retail footprint isn’t important, Black notes before reaffirming there isn’t a massive rollout plan on the horizon. “What matters is having a presence in the right key cities, and being very intentional about where and how we show up,” he concluded.

André Vieira is a Portuguese fashion designer who graduated with the highest distinction (20/20) from the Faculty of Architecture, University of Lisbon, where his Master's research focused on generative AI and hybrid human-machine workflows in fashion design. His practice integrates traditional pattern-making and garment construction with 3D simulation and generative AI tools — structured around four phases: strategic research and concept generation, iterative visual development, virtual prototyping and product engineering, and communication. Throughout every phase, the designer's critical curation functions as the permanent axis.

For his Design Forward 26 submission, André worked exclusively on The Fabricant platform — using Create Image, Edit Image, Photo Studio, Editorial, and Upscaler to cover the full arc from visual ideation to final editorial output. Upstream, he used ChatGPT and Claude for trend research, concept structuring, and prompt development — not as design tools, but as textual interlocutors that help translate creative intent into precise generative instructions before image generation begins.

AI has fundamentally shifted André's role from executor to curator — what he calls a "hybrid operator" between human and machine. The creative process is no longer linear: it moves in a cycle of prompting, generation, critical evaluation, and refinement. In this model, AI doesn't replace judgment — it makes judgment more consequential. He describes the most valuable quality of generative tools as "beneficial unpredictability": unexpected outputs that break conventional thinking, but only when the designer has the visual culture and critical capacity to recognise and direct that value.

André sees the designer of the future not as the one who draws, but as the one who orchestrates intelligence, edits narratives, and transforms data into meaning. He proposes a "skill set stack" in which traditional foundations, digital execution, generative literacy, and strategic vision operate simultaneously — not sequentially. The most significant impact of this shift, he argues, is democratisation: small teams and individual designers can now develop and communicate complete collections at a scale that was previously impossible. The future is hybrid — and the critical human filter is what makes it worth anything.

The modern fashion industry operates under constant strain, where traditional forecasting models frequently clash with unpredictable market realities. Siloed workflows, fragmented planning systems and a heavy reliance on manual processes mean that crucial information is often trapped in disconnected spreadsheets, tech packs and erratic communication channels.

When supply chain disruptions, factory shutdowns or sudden shifts in consumer demand occur, brands are left reactive, unable to pivot quickly enough to protect their margins. This structural disconnect leads to late deliveries, fractured multi-channel product information and devastating out-of-stock scenarios that erode consumer trust and wipe out full-price sell-through. To adapt better, the industry is well advised to transition from legacy guesswork to a connected, intelligent ecosystem driven by artificial intelligence (AI).

Software provider Aptean recently introduced its new tool, Aptean Fashion & Apparel, which automates decisions and unifies workflows for the fashion and apparel industry, from design to delivery, thus giving teams real‑time visibility across styles, colours and dimensions. Five online sessions by industry insiders on 14th May shed light on how the tool can help the industry across the supply chain and departments. FashionUnited has summed up how industry insiders use AI in the design phase, on the factory floor, when writing content about a product and launching it to balancing demand through smart inventory control.

Protecting revenue with style substitution

In high-volatility sectors like the fashion industry where consumer demand can instantly spike due to modern digital forces like social media influencer campaigns, traditional inventory replenishment cycles—which typically span 60, 90 or 120 days—fail to keep pace.

“If a customer's or a consumer's preferred style is out of stock and no one can quickly identify a comparable alternative, you likely have lost the sale. They have moved on, gone to your competitor, another apparel brand, found something they liked and you have lost that sale,” explains Ken Weygand, solutions architect at Aptean. He has been working with fashion, footwear and accessories brands to help them implement both Enterprise Resource Planning (ERP) and Product Lifecycle Management (PLM) solutions to improve and enhance their business operations.

When a preferred garment or size becomes unavailable, brands and retailers face a high probability of permanently losing the consumer to market competitors unless an identical or highly equivalent alternative can be immediately identified at the point of sale. This is where an autonomous “style substitute agent” comes in. “It is all about finding a substitutable style, comparable alternatives quickly so that we can service our customers. … It can do so rather quickly in real time… and can also validate against live inventory. There is no point in looking at alternative styles where we have no inventory,” states Weygand.

Designed to mitigate the immediate revenue losses associated with product stockouts, the operational integration of this technology addresses the structural limits of managing expansive corporate databases that frequently encompass hundreds of thousands of distinct Stock Keeping Units (SKUs) across multiple fabric types, categories and fits. Fragmented frontend teams—ranging from customer service representatives to e-commerce and showroom account managers—are usually forced to navigate disjointed software systems to manually identify alternative items. This data fragmentation induces critical transactional delays and financial margin exposure, such as accidentally offering a higher-cost alternative at a lower tier price point, underscoring the vital requirement for systemic automation.

Deploying an AI agent directly over core ERP and PLM architectures provides an automated infrastructure governed by strict corporate logic. The system evaluates potential substitutions by systematically parsing product attributes—including fabric composition, garment rank, silhouette and retail value—against current safety stock parameters and historic design data. By abstracting these backend data layers into simplified, low-code interface lookups through centralised navigation systems like Aptean, users can execute smooth context switches on the sales floor to save transactions.

Optimising production flow at Hanesbrands: visibility from factory to floor

Moving from blueprints to physical creation, supply chain variability frequently disrupts the operational rhythm of mid-season manufacturing. Traditional ERP frameworks struggle with the multi-curved, high-dimensional block systems unique to fashion manufacturing, resulting in fragmented metrics and delayed visibility. AI systems actively bridge this gap by establishing real-time shop floor control, connecting raw material procurement directly to machinery outputs. This holistic, interconnected oversight transforms physical data into actionable intelligence, preventing the typical bottlenecks that stall production lines.

Explaining the necessity of this shift during global disruptions, Hemant Ramaswami, VP of digital transformation at Hanesbrands, recalled how the US clothing company moved from “simply identifying supply chain exceptions to really being able to address them in near real time” during the Covid pandemic. “Global supply chains do not fail because of missing data. They fail typically because the right data does not reach the right decision makers at the right time,” he emphasised.

Talking about distribution centres no longer being reflective of what was needed to support the customers, Ramaswami identified three core issues: elongated lead times and lack of visibility, fragmented signals and having no allocation engine. “It took a lot of effort for a customer support individual to be able to actually put together a complete picture and answer questions on when product would be available,” remembers Ramaswami.

Starting with a very large volume and highly profitable business segment - men’s underwear - Hanesbrands piloted operational AI software, expanding into more complex categories once they were able to justify the value and see the potential. Predictive logic enables manufacturers to remain highly responsive rather than merely reactive to sudden factory disruptions. Instead of relying on week-old data logs or intuitive human guesswork, operations teams leverage live data streams to identify structural exceptions instantly. By automatically mapping out alternative processing paths and rebalancing workloads across active factories, AI preserves critical delivery windows and minimises margin erosion. “It changed from being in a reactionary mode to more like a fire prevention mode,” states Ramaswami.

Especially useful was container prioritisation logic: “We typically get anywhere from 30 to 40 containers a day at some of our distribution centres. So it is very important to make sure that the unloading team is focused on the highest value containers. …Unloading the right container could be the difference between making the quarter or missing it.” Assigning a dollar value to each container helped tremendously. “It is not even an abstract AI running somewhere in the background. It is actually a dock supervisor looking at the screen that says what we need to unload first and what is on it,” summed up Ramaswami

Real-time protection: navigating volatility at product launch

The transition from the factory floor to the retail market represents one of the most volatile phases in the retail lifecycle, particularly when consumer demand shifts unexpectedly. A product launch can easily collapse under the pressure of fragmented commercial signals, leading to inventory mismatches where certain distribution centres end up overstocked while others face immediate stockouts. AI algorithms dynamically intercept these retail signals at launch, continuously evaluating regional sales trends against live inventory metrics.

Reflecting on how easily a season can slip away without intervention, Aly Breeman, senior product manager at Aptean, observed: “Every season a brand somewhere does everything right. The collection is strong, the designs are sharp and the marketing is ready and then quietly things begin to slip. A delivery arrives late, a warm October stalls the winter coats.The wholesale partners move at a different pace than the webshop. None of it feels dramatic at first but by the time the numbers tell the story the margin is already gone and the only opportunity left is a markdown. This is not bad luck, it is a pattern and like most patterns, once you see it clearly, you can plan ahead for it.”

“In fashion, timing is everything. Seasons unfold through three predictable forces,” she continued. Those are supply variability, changes in demand and channel fragmentation. Producing margins begins long before collections reach the shop floor, according to Breeman, it begins with planning. “Plan the production sequence correctly and every delay has its direct ripple effect on availability and completeness. Waiting until collections are on the shelf and your only option becomes discounting. And discounting is a margin killer,” she warns.

To enable adaptability, companies first need to be able to spot margin risk as early as possible. “One of the biggest challenges for brands is identifying underperforming quickly enough to do something about it and before it starts to affect profitability,” she adds. That is where AI can add much value: It can help by flagging potential production delays, capability issues and other risks much earlier, giving the brand time to step in and take corrective actions.

Once the collection is on the market, AI can keep track of performance in real time, not just on a high level but down to style, colour, season and location. Brands get a much clearer view of what is working and what is not and where they may need to rebalance stock. It can also support smarter replenishment by recommending the right style in the right store at the right time.

“Ultimately, AI helps brands move from reacting too late to acting sooner with much better visibility control across the whole product lifecycle,” says Breeman. “The power of AI starts with the quality of its input,” she cautions. “Generic ERP solutions do not speak fashion language. Seasons, styles in multiple colours, size curves and delivery dimensions are building blocks of how fashion moves. But in a generic system, they get lost in translation.”

“Laying AI on top of a poorly quality data or fragmented systems only amplify the problem. If different teams work from different versions of the truth, if the product data is not maintained properly, AI will make things only worse and not better,” knows the product expert. “So the answer is not simply to add AI, it is to ensure that businesses are ready to use it well. And that means focusing on data quality, governance and consistency first. The more aligned your systems are to the industry, and the more disciplined your data management is, the more effective the impact.”

Content automation: crafting accurate, targeted and compelling copy

As items hit the digital shelf, the demand for rich, accurate product data becomes paramount for conversion; data from the Salsify Consumer Research 2024/2025 indicates that a staggering 88 percent of shoppers say that product content is extremely or very important to their purchase decision. Despite this, fashion brands regularly leak revenue because of incomplete attributes, with half of consumers admitting to abandoning online shopping carts due to poor product descriptions.

“When content is missing or off-brand, it does not just create extra work. It loses sales,” confirms Alain Tessier, director of product management at Aptean. He explains that there are mainly four steps of how AI can fix this: Step one is reading the source; step two is picking what matters; step three is writing the content and step four is review and publish.

“AI takes in whatever you have, PDFs, spreadsheets, images that are from your system, and reads it all. This alone normally takes a writer 30 to 60 minutes per product before a single word is written. AI does it in seconds,” emphasises Tessier. In terms of content, AI figures out what to highlight based on where the content is going and adapts it for each audience: “The same product data becomes a product description for the website. It becomes a summary for buyers, a listing for a magazine and maybe a caption for social media. Each one the right length and tone for that channel,” states Tessier.

But that does not mean that the team does not stay in the loop. Instead of writing from scratch, team members review, adjust, and approve. “The taking stays with the people; the writing work moves to the AI side. What used to take three to five days now takes probably under 30 minutes,” sums up Tessier.

This automated approach maintains strict global consistency while eliminating the manual errors that frequently plague high-volume item setups. Rather than allowing product data to drift loosely across different retail channels, AI systematically enforces corporate style guides, localised terminology and exact brand definitions. It automatically flags critical construction anomalies—such as a jacket being listed as insulated down when the tech specifications dictate a synthetic build—thereby protecting the brand from costly returns and compliance penalties. By trimming content generation timelines from days to mere seconds, brands accelerate their time-to-market and ensure listings remain perfectly accurate across all digital touchpoints.

Fast-tracking production decisions at NSA

The final pillar of a resilient fashion ecosystem lies in sophisticated, automated production environments and inventory control.

Kelly Deady, senior director of Chicago Operations at US apparel manufacturer National Safety Affair (NSA) talked about how AI helped streamline data at the company’s four manufacturing sites (in California, Illinois, Kansas and Ohio). “Every single site had a different efficiency system, and none of them talked to each other. We finally are all on the same ERP but it does not have the data that we need to really drive down into efficiency and just optimise our online in any way possible,” recalls Deady. “We also send the same reports to the same person but we have to edit things all the time in order … to [get] an apples to apples comparison of the data. So going with Aptean has been a huge game changer for NSA,” adding that predicting late orders or balancing multi-sites by either looking at cost or at efficiency has been the biggest gain.

Making sure to have the data to back up promises in regards to being able to function quickly, function effectively, and assess what type of bottlenecks they could run into is what helps maintain a “Made in USA” brand. “Anything that can predict the unexpected is awesome because manufacturing every day is unexpected,” adds Deady.

Traditional inventory management relies on historic seasonal patterns, which leaves brands highly vulnerable to unpredictable market shifts, late logistics arrivals and sudden regional demand drops. AI breaks this rigid loop by continuously running complex predictive scenarios, calculating precise trade-offs between localised stock levels, shipping overheads and promotional markdowns.

This systemic oversight translates directly into automated, real-time inventory rebalancing across diverse direct-to-consumer and wholesale networks. Instead of forcing regional teams to manually sifting through massive spreadsheets to locate missing size curves, the AI autonomously calculates the exact metrics required for precise, calculated replenishment. It dictates exactly when to move sluggish stock from underperforming brick-and-mortar floors to high-velocity e-commerce hubs, ensuring maximum full-price sell-through. By executing these tiny, continuous operational adjustments across the product lifecycle, fashion enterprises can drastically lower total days unsold and maintain exceptionally lean, highly profitable supply chains

“Having an AI agent is like having another set of eyes that are always looking at it, waiting for whatever it is that you have trained it to come up. So you are going way beyond a report that is pulling data or a tool that is showing dashboards or screens. You actually have something that is looking at it that has more of like a human-type of brain aspect to it in the way it is looking at the information,” concludes Deady.

Conclusion: synthesising the automated fashion enterprise

Embracing AI across the fashion lifecycle is no longer a futuristic experiment; it is a fundamental commercial necessity for brands looking to protect their margins in an unforgiving market. By linking design, production, launch, copy creation and inventory control into a single, cohesive intelligent ecosystem, fashion enterprises eliminate the disconnected data silos that historically stall growth. The results are profound: dramatically shorter development cycles, minimal stockout friction, flawless data integrity and highly optimised stock allocation. Stakeholders who implement these integrated AI solutions effectively future-proof their operations, replacing legacy operational guesswork with a precise, highly responsive architecture built to thrive on market volatility.

Madrid – The pre-arranged steps for the swift acquisition of Pronovias by Cap Capital continue to be strictly followed. The leading global company in the bridal fashion sector has now been placed into administration. This is part of the “pre-pack” administration process that will conclude with its sale to the British investment group.

According to the court order issued this Tuesday, May 19, 2026, which corrects a previous ruling made the day before, Pronovias Group filed for administration on May 13, 2026. This follows reports from FashionUnited late last week. The Commercial Court No. 9 of Barcelona has been overseeing the “pre-pack” administration process requested by Pronovias' current owners, the US private equity firms Bain Capital and Clearlake. The court has now placed the company into administration with a ruling dated May 18, and a subsequent correction issued this Tuesday, May 19.

Key details from the same court order, which FashionUnited has accessed, show that a total of 17 companies linked to the bridal fashion group have been placed into administration. These companies include subsidiaries for its operations in key markets such as the US, UK and Mexico, through companies such as Catiberia Acquisition Holdco; San Patrick; Financiera Pronovias; Estudio San Patrick; Pronovias Portugal Unipessoal; San Patrick Bridal & Cocktail; Ltd Shanghai Branch; San Patrick International Limited; Pronovias UK Limited; Pronovias France; San Patrick Nederland B.V.; Pronovias USA; Pronovias Group Italia; San Patrick Brasil Moda; Pronovias Polska; San Patrick Novias de Mexico; and Pronovias Retail Mexico.

A five-day hearing period

Following its voluntary declaration of administration, the court has suspended the powers of Pronovias' directors. It has appointed professional services firm FTI Consulting as the administrator. FTI Consulting had previously been appointed by the same court as the independent firm to manage the initial phase of Pronovias' insolvency process. The court has now called on all creditors of the insolvent companies to contact FTI to communicate any outstanding claims for inclusion in the list of creditors and the subsequent recognition and classification of the debt. Creditors of Pronovias Group and its subsidiaries will have one month for this procedure, starting from the publication of the order in the Official State Gazette (BOE).

Parallel to this debt information and classification process, the court has opened a five-day hearing period. This period begins from the publication of the resolution in the Public Insolvency Register, allowing any interested party to submit objections regarding Cap Capital's offer to acquire Pronovias. It is specified that no new offers will be accepted during the hearing. The proposal was submitted through the company Nomera Expansión. This company was established in Madrid on September 20, 2024, with its main activity listed in the Mercantile Registry as the manufacture of other general-purpose machinery. With John William Sargent as its sole administrator since May 2025, it is a subsidiary of the industrial holding company Green Industry Machines & Materials, which is owned by the British investment group Cap Capital.

Thus, barring any last-minute setbacks, the British firm will pivot its investment strategies with the upcoming acquisition of Pronovias Group. Only a few details about Cap Capital's offer have been revealed so far, including its commitment to maintain up to 552 of the 600 jobs currently at the Spanish company. The offer succeeded against bids from other contenders during the “pre-pack” administration process. Participants reportedly included Rosa Clará, with Desigual and the US investment fund Enduring Ventures among the best-positioned.

A key step towards Pronovias' new era

Following the information reported this morning by FashionUnited, Pronovias Group has issued a statement. It highlights the administration order as a “key” step for the company as it moves into its new era under the ownership of Cap Capital. Regarding the investment group's offer to acquire the business unit of Pronovias Group, the company emphasised the commitment to employment. It also reiterated that the company will continue to operate as normal until the transaction is completed.

“Pronovias Group continues to advance in the final phase of its business unit sale process,” stated the company, after the court “issued a favourable ruling on the report submitted by FTI Consulting as an independent expert, which recommended awarding the business unit of Pronovias Group to Cap Capital.” The statement continued: “Its offer represents a firm commitment to employability at the company and ensures the necessary support and investment for the future viability of the group. It also has the support of the employees, who voted overwhelmingly in favour of the process of selling to Cap Capital. During this final phase before the transaction is executed, the company will continue to operate completely normally, maintaining its commitment to the quality of its collections and offering the best service to its brides, customers, partners and distributors worldwide.” The statement concluded: “The Board wishes to thank the Court for its speed in issuing a ruling that is key to the stability and future plans of Pronovias Group.”

US retailer Target Corporation reported its financial results for the first quarter of 2026, revealing earnings that exceeded initial marketplace expectations.

The company posted first quarter GAAP and adjusted earnings per share, also known as EPS, of 1.71 dollars on a diluted basis. This compares with a prior-year GAAP EPS of 2.27 dollars and an adjusted EPS of 1.30 dollars.

"First quarter financial results were stronger than expected, providing encouraging early signs that our clarified strategy is resonating with our guests and driving broad-based growth across our business," Michael Fiddelke, chief executive officer of Target Corp, said in a press statement. "While we're pleased with our Q1 performance, our focus remains on building consistent, long-term growth, and we recognize there is much more work in front of us."

Revenue and comparable sales growth

Net sales for the first quarter reached 25.40 billion dollars, marking a 6.7 percent increase compared to the same period last year. This performance was supported by a 6.4 percent growth in merchandise sales alongside a 24.6 percent increase in non-merchandise revenues.

Comparable sales for the quarter grew by 5.6 percent. This metric was driven by a 4.7 percent rise in comparable store sales alongside an 8.9 percent growth in comparable digital sales.

Operating income and adjusted operating income for the first quarter stood at 1.10 billion dollars. This represents a 22.9 percent decrease compared to the prior-year GAAP operating income, but a 29.1 percent increase when measured against the prior-year adjusted operating income.

Capital allocation and updated full year guidance

First quarter capital expenditures rose by 31 percent year-over-year, or YoY, to 1 billion dollars. The investment increase was primarily directed toward new brick and mortar locations and store remodels.

The company distributed dividends totaling 516 million dollars during the first quarter, compared to 510 million dollars in the prior year. This reflects a 1.8 percent increase in the dividend per share, which was partially offset by a reduced overall share count.

Looking ahead, Target Corp has upgraded its full-year guidance for 2026. Net sales growth is now anticipated to be in a range around 4 percent compared with 2025, which represents an increase of two percentage points above the previously projected range.

The retailer continues to forecast net sales growth across every quarter of the fiscal year. Additionally, the full-year 2026 operating income margin rate is expected to be more than 20 basis points higher than the 4.6 percent recorded in 2025, with both GAAP and adjusted EPS projected near the high end of the initial guidance range of 7.50 dollars to 8.50 dollars.

The US-based apparel company VF Corporation reported financial results for its fourth quarter ended March 28, 2026, marking a return to full-year revenue growth alongside expanded margins and reduced debt. The company's board of directors authorized a quarterly per share dividend of 0.09 dollars, payable on June 18, 2026, to shareholders of record at the close of business on June 10, 2026.

For the twelve months ended March 2026, total revenues reached 9.61 billion dollars under GAAP, up 1 percent compared to the previous year. Excluding the Dickies brand, which was sold during the third quarter of fiscal year 2026 (FY26), full-year revenue grew 4 percent reported to 9.30 billion dollars, or 1 percent in constant currency.

Full-year gross margin stood at 54.8 percent, up 130 basis points, while adjusted gross margin excluding Dickies reached 55.2 percent, up 110 basis points.

Full-year operating income reached 577 million dollars with an operating margin of 6 percent, up 280 basis points. On an adjusted basis excluding Dickies, operating income was 650 million dollars with an adjusted operating margin of 7 percent, reflecting a 110 basis point increase.

Strong fourth quarter performance driven by the Americas

During the fourth quarter of fiscal year 2026 (Q426), total revenues rose 1 percent to 2.17 billion dollars. Excluding Dickies, revenue grew 8 percent reported, or 3 percent in constant currency, outperforming the company's prior guidance of flat to plus 2 percent in constant currency. This represented the strongest quarterly revenue performance for the business in three years on a constant currency basis excluding Dickies.

The revenue acceleration was led by the Americas region, which recorded a 2 percent growth or a 10 percent increase in constant currency excluding Dickies, marking its highest growth rate since the first quarter of fiscal year 2023.

Performance by key brands during the fourth quarter included:

The North Face grew 12 percent reported, or 7 percent in constant currency, supported by a 17 percent revenue increase in the Americas;

Timberland grew 8 percent reported, or 2 percent in constant currency;

Vans declined 1 percent reported, or 5 percent in constant currency, though its Americas direct-to-consumer (D2C) business returned to growth for the first time in over four years.

Fourth quarter operating income was 62 million dollars under GAAP. Adjusted operating income excluding Dickies reached 54 million dollars, exceeding the guided range of 10 million dollars to 30 million dollars.

Strategic transitions and future guidance

The fiscal year was characterized by portfolio optimization, notably the completed sales of the Dickies brand in November 2025 and the Supreme brand in October 2024, the latter being reported under discontinued operations. The group also realigned its reportable segments into Outdoor and Active categories starting in the first quarter of fiscal year 2026.

Bracken Darrell, chief executive officer of VF Corp, noted that the company achieved a full year of growth for the first time in three years, alongside margin expansion and a leverage ratio reduction of a full turn compared to the previous year. Darrell added that Vans is showing momentum through the turnaround of its Americas D2C channel and confirmed the company remains on track to achieve its medium-term targets, which include an exit run rate of a 10 percent operating margin and a leverage ratio of 2.5 times or lower by fiscal year 2028.

Effective fiscal year 2027 (FY27), VF Corp has reinstated annual guidance. The company expects revenue to increase between 1 percent and 2 percent in constant currency compared to the fiscal year 2026 revenue excluding Dickies. It targets an adjusted operating margin of approximately 8 percent.

DSSLR GmbH, the company founded by Christoph Dassler, has filed for insolvency.

Preliminary insolvency proceedings were initiated last week for the Herzogenaurach-based sportswear brand. The responsible Nuremberg District Court announced the proceedings. Jochen Zaremba, a lawyer from the Nuremberg-based restructuring firm Schwartz, has been appointed as the preliminary insolvency administrator.

The insolvency follows the launch of DSSLR's first collection last August. The sports and lifestyle label specialises in tennis. It was launched at the end of 2023 by Christoph Dassler, the grandson of Puma founder Rudolf Dassler.

While the brand's lifestyle collection is made from regenerative organic cotton, the on-court line uses materials with a recycled content of 85 to 95 percent. The price range of the collection extends from 35 euros for headbands and wristbands to 480 euros for a short terry-look blouson jacket.

Eco Age, the sustainable fashion platform and communications agency, is calling on UK and EU regulators to pass legislation to ensure that PFAS, per- and polyfluoroalkyl substances, commonly known as “forever chemicals,” are labelled on clothing and textile products on physical hang tags and on digital product listings.

As PFAS regulation tightens across Europe, with France’s ban now in force, and Denmark’s ban starting in July, ahead of an EU-wide restriction tracking towards 2027 and UK MPs calling for a 2027 phase-out, Eco Age states that shoppers still have no way of knowing whether their coat, children’s school blazer, or sports kit contains the “forever chemicals”.

While consumers can ask whether PFAS are in their drinking water, no ruling exists when it comes to chemical data on clothing and footwear labels, and Eco Age’s 'Forever Label' campaign is calling for mandatory PFAS disclosure on all clothing and textiles, the same basic transparency that exists for allergens in food or ingredients in cosmetics.

“The ask is simple: if it lasts forever, label it,” adds Eco Age. “The label forces brands to take accountability for harmful chemicals while encouraging consumers to consider the environmental impact before purchase.”

Eco Age calls for transparency on harmful chemicals in our clothes

This comes as Eco Age reveals that a peer-reviewed study found PFAS in all 72 stain-resistant children's textiles tested, with school uniforms containing significantly higher levels than other items. While a 2024 University of Birmingham study confirmed that PFAS can be absorbed through human skin, with the shorter-chain replacements now favoured by industry crossing the skin barrier more readily than their predecessors.

Marwa Zamaray, Eco Age executive director and EU Climate Pact ambassador, said in a statement: "Families exposed to PFAS contamination are increasingly told to ask what is in their water. They cannot ask the same question at the point of sale about a school blazer, a raincoat or a pair of trainers. That is the transparency gap.

“Restrictions matter. But while these products remain on shelves, people have a basic right to know whether forever chemicals have been used in their clothing. The information already exists inside supply chains. It just doesn't reach consumers."

More needs to do more to tackle PFAS

The warning lands during one of the most decisive months yet for PFAS regulation in Europe. On May 25, the European Chemicals Agency (ECHA)’s final consultation on the universal PFAS restriction proposal closes, with the Committee for Socio-Economic Analysis opinion expected by the end of 2026, while the European Commission legislative proposal is tracking towards 2027.

On July 1, Denmark's ban on the import and sale of clothing, footwear and waterproofing agents containing PFAS takes effect. In France, the national ban on PFAS in clothing textiles, cosmetics and ski waxes has been in force since January 1, 2026, with the scope extending to all textiles by 2030.

The UK is moving “more slowly,” adds EcoAge, with the government's first PFAS Plan in February announcing a long-term vision to reduce and minimise the impacts of harmful PFAS on public health and the environment through a “science-based and evidence-led" approach, including a review of school uniform procurement guidance and recommending that schools consider PFAS-free alternatives.

This was followed up by the Environmental Audit Committee on April 23, which warned the UK is falling behind the EU, and is calling for a phased PFAS restriction in non-essential consumer goods, including school uniforms, from 2027.

French sports and lifestyle brand Lacoste is deepening its relationship with the tennis Grand Slam tournament Roland-Garros for 2026 with a co-branded collection and a new Club Lacoste concept.

In a statement, Lacoste said the collaboration with Roland-Garros is a “meeting point between sport and culture,” and will include a co-branded performance collection designed to support athletes at the highest level, with polos, breathable T-shirts, shorts, skirts, and training jackets created for “movement, lightness, and control”.

This will be joined with a lifestyle collection, which aims to translate the clay tournaments' unique atmosphere into “a daily wardrobe,” with polos, sweatshirts, hoodies, scarves, dresses, shirts, and casual sets.

“This lifestyle collection embodies a modern matchday style at the crossroads of fashion and sport,” explains Lacoste.

The collection also features pieces dyed using clay from Roland-Garros, introducing a new white-clay-based dye that offers a “unique, one-of-a-kind imprint”.

This season, the co-branded collaboration also moves beyond apparel and includes specially designed footwear for both on-and-off-court style, sunglasses inspired by the tournament’s visual identity, leather bags, as well as caps, socks and even underwear to complete the wardrobe.

Recognising the reach of the French Grand Slam tournament, Lacoste will be selling the Lacoste x Roland-Garros 2026 collection across numerous markets worldwide, including the UK, Canada, the US, Austria, Belgium, Spain, Germany, Italy, Switzerland, Cyprus, Greece, Romania, Croatia, Bulgaria, Malta, North Macedonia, Poland, Serbia, Turkey, Brazil, Argentina, Cameroon, Algeria, Angola, South Africa, Nigeria, Ivory Coast, India, South Korea, the Philippines, Australia, Indonesia, Vietnam, Thailand, Malaysia, Singapore, Hong Kong, the United Arab Emirates, Israel, Lebanon, Kazakhstan, Azerbaijan, and Uzbekistan.

Alongside the collection, Lacoste will also be hosting a new edition of its exclusive Club Lacoste concept from May 21 to 24. Following previous events in New York, Melbourne, and Miami, Club Lacoste will take over a Paris rooftop in the 16th arrondissement with an immersive concept designed to act as “a meeting point between sport, elegance, and the French art de vivre”. The space will host exclusive meet-and-greets, activities, pop-up experiences showcasing the collections, and screenings of the tournament’s opening-day matches.

Global sales of licensed merchandise and services increased by 5.45 percent in 2025 to reach 389.8 billion US dollars, outpacing the broader global retail market, which grew nominally by 4.52 percent, according to a new report from Licensing International, the trade organisation for the global licensing industry.

The ‘2026 Global Licensing Industry Study’ shows that continued growth in licensed merchandise was fuelled by sports, character/entertainment, toys, and video games, as well as “strong regional growth” in North Asia.

The annual study, which takes data from 51 countries across all seven major geographic regions, was conducted by independent research firm Brandar Consulting and found that consumer demand for licensed products was driven by “nostalgia, escapism, and shared brand experiences,” as consumers continue to turn to “brands, characters, and stories they love”.

Maura Regan, president of Licensing International, said in a statement: “This data confirms what licensing professionals around the world already know to be true, which is that licensed merchandise is a powerful business driver.

“This is not an industry anchored to one consumer category or one type of fan engagement. Licensing is a dynamic, global business that continues to move at the pace of changing consumer behaviour. From sports and entertainment to anime, gaming, and location-based experiences, licensing continues to deepen consumer engagement in powerful ways and drive revenue.”

Key highlights from the report reveal that the sports have become the fastest-growing category, increasing 8.5 percent to reach 44.4 billion US dollars. This makes sports now the third-largest property category, representing 11.4 percent of the market.

However, character/entertainment licensing still remains a significant growth engine for the industry, with the segment growing by 8 percent to reach 161.8 billion US dollars in retail sales, driven by “healthy box office performance and strong contributions from the anime and video game sectors”.

Anime, video games, comics, social media, and other properties now make up a combined 34 percent of licensing revenues in the category, slightly ahead of feature films and scripted and unscripted TV at 33 percent.

In terms of regional growth, North Asia was the fastest-growing region globally, up by 14.1 percent, driven by robust increases in global box office sales, video games, and anime streaming content, led by Japan, South Korea, and China. Other high-growth regions included Latin America (LATAM), up 7.6 percent, and South Asia/PAC, up 5.3 percent.

The report also adds that 2025 also saw online retail and social commerce creating “new pathways” for licensed sales, with online retail sales increasing to 32 percent of all global licensed retail sales.

For the first time, the study also tracked social commerce and found that 16 percent of all online sales globally were generated from social media platforms.

Italian designer Giambattista Valli is regaining full control of his Parisian fashion house. According to reports from WWD, an agreement has been reached to buy back all shares held by Artémis, the investment holding company of the Pinault family. This transaction marks the end of a multi-year financial collaboration and signals the return to independence for the eponymous label.

In a statement sent to WWD, Valli said that this agreement will allow him "to regain full control of [his] brand and pursue its development with enthusiasm and energy." For his part, François-Henri Pinault, chairman of Artémis, stated that his family office was "delighted to support Mr. Valli and to endorse such a unique and demanding creative vision."

Artémis first invested in the brand in 2017 with a minority stake, before becoming the majority shareholder in 2021. The holding company, which manages the Pinault family's assets, initially aimed to support the house's structuring and international development.

However, the first signs of a structural review appeared at the beginning of the year. In January 2026, Giambattista Valli cancelled his participation in the haute couture week just a few days before the scheduled date. The house stated in a press release: “This decision is part of a thorough review of the organisation and priorities of its activities”.

Dileiny Baron has spent more than five years building a digital platform centered around fashion, lifestyle, and empowerment. With 131,000 followers on Instagram and 37,200 followers on TikTok, the NYC-based creator has developed a visual identity rooted in polished everyday dressing while maintaining an approachable, community-driven presence. What began as a small blog has evolved into a creative platform where style, confidence, and storytelling naturally intersect.

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Her aesthetic is built around balance. Dileiny combines timeless wardrobe staples with trend-conscious pieces, creating looks that feel elevated yet wearable. Tailored vests, structured blazers, relaxed denim, elegant dresses, and coordinated sets appear consistently throughout her content. While her outfits lean refined, there is still an ease to the way she dresses that keeps her style accessible rather than overly formal.

A defining aspect of her wardrobe is its versatility. Rather than relying on one signature colour palette, Dileiny moves fluidly between tones and textures. Neutral shades such as cream, beige, black, denim blue, olive, and chocolate brown often form the base of her looks, while brighter colours or prints are introduced in a controlled way. Accessories also play an important role in shaping her aesthetic. Gold jewellery, structured handbags, oversized sunglasses, and pointed heels frequently elevate otherwise minimal combinations, adding polish without overpowering the outfit.

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Her content reflects a lifestyle-oriented approach to fashion. On Instagram, Dileiny blends outfits with interiors, beauty, travel, and creative spaces, creating a curated yet warm atmosphere. TikTok, meanwhile, reveals a more conversational side through styling videos, relatable moments, and everyday fashion commentary.

That balance between aspiration and relatability is central to her appeal. Dileiny speaks to women navigating careers, motherhood, creativity, and self-confidence, presenting fashion as something that should support daily life rather than complicate it. This perspective also extends beyond social media through The Creator’s Loft, a creative studio space she founded for storytellers and content creators.

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Rather than chasing fast-moving trends, Dileiny Baron approaches style through consistency, versatility, and self-expression. Her influence lies in showing how strong basics, thoughtful styling, and subtle statement pieces can create a wardrobe that feels both modern and enduring.

E-commerce giant Asos has launched a new shopping app within ChatGPT, aimed at combining conversational AI, fashion discovery and shoppable video content for customers in the UK and US.

Developed with video commerce platform Bambuser, Asos Stylist allows users to search for products, browse trends and receive styling recommendations directly through ChatGPT before completing purchases on Asos’ e-commerce platform.

The e-tailer said the platform uses Bambuser’s Intelligence Layer technology to transform Asos’ product catalogue and video library into machine-readable data that language models can process in real time. The experience includes video content, livestream footage and interactive shopping journeys.

Customers will be able to search by category, trend or occasion using prompts such as “show me pastel floral A-line dresses for spring”, to which the app will then respond with curated edits and styling suggestions.

In a statement, Asos’ head of product, Melissa Lim, said: “Customers are increasingly turning to AI for shopping and style inspiration, but the experience can still feel fragmented and hard to visualise. Asos Stylist brings fashion discovery, styling advice, and shoppable products together in one seamless, conversational experience.”

Kristina Brjazgunova, Bambuser’s vice president of product and innovation, added that the partnership aimed to “set the standard” for how brands integrate AI and video commerce within platforms such as ChatGPT.

The association Vox Populi and ultra-fast fashion brand Shein are partnering to create 'Future Fashion Talents', a scholarship designed to help young French people in precarious financial situations fund their studies at fashion schools.

After launching Pop’Skills, a fashion programme for young people from disadvantaged neighbourhoods, the association Vox Populi* and ultra-fast fashion brand Shein are offering 'Future Fashion Talents'. This scholarship is for young people wishing to pursue training at a fashion school for the 2026-2027 academic year. Applications must be submitted before June 18, 2026.

“To build this programme, we wanted to partner with a player capable of supporting us in the scaling up we wanted to achieve,” said Edwige-Laure Mombouli, general director of Vox Populi, in the press release. “Shein's support was a natural choice. It is a major player in accessible fashion, in tune with the expectations of an entire generation.”

Objective: to promote social diversity and bring out new creators, technicians and entrepreneurs

For its first 2026-2027 intake, the scholarship plans to support fifty young talents throughout France. The scheme only covers tuition fees, which can reach up to 9,000 euros per academic year, depending on the beneficiaries' situation and the cost of their training.

Overall, this corresponds to almost full coverage in some private schools or partial coverage in the most expensive institutions.

In addition to a fragile financial situation, candidates must be between sixteen and thirty years old, reside in France and in the DROM-COMs, and be admitted to or enrolled in fashion-related courses (design, technical trades, management or marketing).

Applications will be evaluated according to several criteria: social situation; creative potential; motivation; academic background; and the coherence of the professional project.

Shein's funding of fashion school tuition fees likely to cause a reaction

This initiative is reminiscent of the controversy surrounding a partnership between the Fashion Institute of Design & Merchandising and the ultra-fast fashion giant, as reported by The Guardian in 2023. The programme included twelve scholarships of 40,000 dollars for fashion students. In exchange, beneficiaries could also be asked to create pieces for the platform.

The initiative sparked strong protest within the school. One student denounced the partnership, deeming it contradictory to the institution's stated sustainability commitments. A petition subsequently gathered more than 4,500 signatures. The school defended the exchange, highlighting the high cost of studies and the lack of available funding for students.

It now remains to be seen how French fashion schools will position themselves.

*Vox Populi: Vox Populi is a non-profit organisation founded in 1999. It is committed to supporting young people from modest backgrounds, working-class neighbourhoods and rural areas through mentoring, training and professional integration programmes.

N Brown Group has appointed Clare Empson as its new director of supply chain, property and group efficiency.

Empson confirmed her role on LinkedIn, where she said her focus will be on strengthening operations and supporting the company’s strategic transformation.

“I am looking forward to working closely with our teams as the business continues into its next phase, while reconnecting with partners and suppliers across our network,” Empson added.

The new position marks a return to the business for Empson, who had previously been with N Brown Group between January 2024 and January 2026, during which time she most recently served as chief customer operations officer.

Prior to N Brown, Empson was with Ted Baker for over 24 years, starting out at the company as retail manager before working her way up to become director of operations.

Her appointment at N Brown continues an ongoing leadership shuffle at the UK-based digital retail platform, which has recently appointed new heads for trading and operations as well as a new CEO, Dan Joy.

Joy’s appointment earlier this year signalled a shift in priority towards the modernisation of N Brown’s financial offering, a mission that intends to align this arm of the company with evolving consumer needs.

The strategy has moved ahead following a major restructuring that saw the reported axing of 370 jobs over the course of last year, initiated after the Alliance family acquired N Brown and subsequently took it private.

Under its new owner Bidco, a firm controlled by Joshua Alliance, N Brown has sought to address low trading liquidity and its shareholder structure while accelerating long-term growth potential by securing access to capital and expertise.

Five years after its debut, LaMunt—the premium mountain sports brand “by women for women”—continues to redefine women's outdoor apparel with a clear and authentic vision. The goal has always been to create garments that accompany women in the mountains with freedom, offering an experience that goes beyond technical performance to embrace identity and personal expression. LaMunt is the result of careful listening and constant dialogue with the women of the community, the LaMunt Crew , from which a stylistic proposal is developed that responds to the real needs of those who live the mountains.

LaMunt's Fall/Winter 2026–27 collection was born with a clear idea: versatility is not just a product feature, but a design principle. Each piece is designed to adapt to different moments, conditions, and styles, accompanying women from ski touring to snow excursions – with intelligent technical solutions, comfort, and an aesthetic that celebrates femininity. The pieces lend themselves to mixing and matching and layering, allowing for ever-new and personal combinations. Customizable Smart-Fit Solutions and Ali Shape Design combine to enhance the silhouette and offer freedom of movement.

Soul Ski Touring , Fitness Hiking, and Mountain Time return as protagonists of the line, interpreting three complementary ways of experiencing the mountains. From the vibrant energy of autumn to the suspended stillness of winter, outdoor activities transform with the seasons. The color palette reflects the transition with shades that evoke nature and light: foggy white , duck green , Aruba blue , and jute blend with brighter shades to create combinations that convey balance, vitality, and femininity. Mountain Me-Time thus becomes a shared experience— Mountain Us-Time —that celebrates the beauty of the mountains and the pleasure of experiencing them together.

The LaMunt Cares approach is a fundamental pillar of the brand's identity, reflecting a concrete commitment to sustainability. For FW26-27, approximately 89% of garments are made with materials that contain over 50 percent recycled fibers, the result of a circular development process that integrates environmental impact analysis (Life Cycle Assessment) and the principles of "Design with Circularity in Mind."

Among the new products for FW26-27, LaMunt introduces ReDown , a high-performance recycled down padding that combines lightness, thermal insulation, and breathability. Down, naturally soft and insulating thanks to its structure, has always been an ideal material for outdoor garments, but its animal origin requires a responsible approach. For this reason, LaMunt has chosen to use down recovered from post-consumer products, which are washed, sorted, and reused, reducing the demand for virgin down and helping to limit waste destined for landfills.

ReDown joins ReMOCA Pad®, an innovative insulation obtained from the production waste of ski mountaineering skins from the Oberalp POMOCA brand. Both solutions demonstrate the brand's commitment to an increasingly circular and conscious production model, in which functionality and sustainability must be equally valued.

Faithful to the fewer but better philosophy, the collection is enriched with seven new designs, accompanied by new color shades that renew the carry-over models.

FW26 key styles

White warm ReDown jacket

Warm and versatile, the Bianca Jacket is insulated with 170g of ReDown® recycled down, which guarantees thermal insulation and a sustainable approach thanks to the recovery and reuse of post-consumer down. Made of recycled nylon with a PFAS-free DWR water-repellent finish, it offers comfort and protection from the elements. The pre-shaped hood with a high collar, two-way zip, and soft lining ensure warmth and comfort. Equipped with pockets, cuffs, and adjustable drawstrings, it is practical and functional.

Sabine cozy thermal cardigan

The Sabine Cozy Thermal Cardigan combines softness and functionality in a contemporary design. Crafted from recycled polyester with PFAS-free nylon inserts, it envelops the body in thermal comfort, ideal for cold days. The stand-up collar and elasticated edges ensure a perfect fit and a pleasant feeling of warmth. Side zip pockets add practicality without sacrificing a clean, feminine aesthetic. The cardigan combines style and sustainability—perfect for relaxing and cozy moments both indoors and out.

Michela winter hiking pant

The warm, stretch Durastretch fabric combines warmth and freedom of movement, which, along with the high waist, make the Michela pants the perfect companion for winter hikes. They feature a regular fit and pre-shaped knees. The hem is elasticized, and a zip at the bottom of the leg allows for easy entry into boots. The closure is secured with two snaps and a zip, while the belt loops and two side pockets are essential features for comfortable and functional mountain pants.

Tiziana 3L waterproof jacket

Technical and sustainable, the Tiziana jacket is made of 100% recycled 3-layer fabric, waterproof up to 20,000 mm H₂O and highly breathable. It features a PFAS-free DWR treatment and fully taped seams to ensure total protection. The pre-shaped, adjustable hood with visor and elastic closure, along with the stand-up collar, offers maximum coverage even in the most extreme conditions. A waterproof zipper, underarm ventilation, and elastic cuffs ensure comfort and practicality in any condition. Two zippered side pockets and an internal pocket complete the garment. Available in the new Duck Green and Aruba Blue colors, it combines technical performance with contemporary style.

Constanze Durastretch pants

The Constanze Durastretch Regular ski mountaineering pants combine technical performance and comfort. The pre-consumer recycled fabric with a PFAS-free water-repellent treatment ensures stretch and durability, while the Me-Care back with a Merino Tencel lining provides warmth to the lower back. The regular fit features a ventilation zip, double button closure, functional pockets, and leg openings for easy donning of ski boots. Integrated gaiters, scratch-resistant protection, and silicone grippers ensure stability and protection. Available in the new Black and Duck Green colorways.

Martha baseball cap

The Martha Cozy Baseball Cap revisits the classic hat for winter. Made from soft LM Me-Soft Fleece R100 BS, 100% post-consumer recycled fleece, it offers thermal comfort and an adjustable fit thanks to the Velcro closure. The logo stitched on the front adds a distinctive and refined touch to a versatile and functional accessory—perfect for wearing on the mountain or during your free time.

The Lycra Company has announced it will complete its financial restructuring process and emerge from Chapter 11 protection on May 20, supported by a new ownership structure, reduced debt and changes to its leadership team.

The US-based company said the restructuring will reduce its long-term debt by more than 1.2 billion dollars and provide over 75 million dollars in new investment, strengthening its balance sheet and improving financial flexibility for future growth.

The business, which supplies fibre and technology solutions to the apparel and personal care sectors, said operations have continued without disruption throughout the restructuring process.

As part of the changes, Dean Williams has been appointed interim chief executive officer, replacing former CEO Gary Smith. Williams had been serving as chief financial officer and has been with the company since its formation.

The company has also appointed a new board of directors led by executive chairman, Bruce Rubin, who said in a statement: “With a strong foundation in place, The Lycra Company will be well-positioned to enhance operational excellence, accelerate innovation, deepen customer partnerships, and reinvest in our high-quality products.”

Williams added: “Emergence marks a defining moment for The Lycra Company. We will now be a financially stronger, more focused organisation that is positioned for growth.”

The company said the restructuring positions it to continue investing in innovation, customer partnerships and global operations across its portfolio of textile technology brands.

Tokyo Lights is a prestigious mentorship programme that stands as a testament to the profound and enduring relationship between Chanel and the world of cinema. This unique initiative is wholeheartedly supported by the House of Chanel, underscoring the brand's long-standing commitment to nurturing creative talent and fostering the future of filmmaking.

The programme is designed to offer invaluable guidance, resources, and networking opportunities to emerging filmmakers, providing them with a platform to develop their cinematic vision and take their careers to the next level. By championing this programme, Chanel continues its tradition of supporting artistic expression and the magic of storytelling that is so central to the spirit of both fashion and film.

On 30 September and 1 October 2026, Circular Textile Days returns for its sixth edition at the Koepelhal in Tilburg, bringing together more than 1,200 visitors from over 25 countries across the textile value chain. While the event is moving to a new venue, Tilburg’s rich textile history makes it a natural fit for Circular Textile Days and its mission to bring the industry together. Under the theme “From ambition to reality,” this edition focuses on a major industry challenge: turning circular goals into practical, financially viable solutions.

While the ambition for circularity is growing, execution is increasingly complex. Faced with rising costs, new legislation, and global competition from cheap imports, companies across the value chain face difficult decisions. Circular Textile Days aims to create the exact conversations, connections, and practical insights the industry currently needs most.

Navigating cost and complexity

According to Rachel de Gooijer of Circular Textile Days, the challenges companies face today make collaboration more important than ever. “What we hear again and again from the industry is that companies want to move forward, but they cannot do it alone,” says De Gooijer. “Circularity is no longer just a future discussion. New legislation is starting to reshape the industry, while businesses are also dealing with rising costs and increasing complexity throughout the supply chain. Companies are trying to figure out how to make circularity financially and operationally viable. That is exactly why spaces for honest conversations and real collaboration matter so much.”

Unlike many trade events that isolate one specific part of the chain, Circular Textile Days brings together the full ecosystem. Visitors gain a comprehensive look at the solutions shaping the future of European textiles, covering recycling technologies, innovative materials, sourcing, traceability, machinery, and circular business models.

A restructured format for industry dialogue

The 2026 edition introduces an updated event format designed to encourage stronger connections throughout the two-day program. Day 1 starts in the afternoon with keynote sessions, guided tours across the exhibition floor, and active matchmaking, before transitioning into a shared dinner and the new CTD Café concept.

Developed in response to feedback from exhibitors and visitors, the CTD Café extends the day’s networking into a more informal setting. By offering a relaxed atmosphere after the main floor closes, it creates space for the interactive discussions and ideas that often matter most.

“What stood out most last year was not just the innovation itself, but the willingness of companies to openly discuss what isn’t working yet,” says De Gooijer. “Those honest conversations are where real progress starts.” This transparency will anchor the 2026 program, which is set to address upcoming legislation, circular business cases, sourcing and cost price pressure, material innovations, traceability, and the future of circular textiles in practice.

Practical information

Tickets are now available online via Circular Textile Days.

• 30 September – 1 October 2026
• Koepelhal Tilburg, The Netherlands

Madrid – Jonathan Andic, eldest son of Mango founder Isak Andic and currently the family’s sole representative on Mango’s board as non-executive vice president, faces an uncertain future after being arrested on Tuesday, May 19, in connection with his father’s death. A magistrate has formally named him as a homicide suspect, citing a “body of evidence” pointing to his “active and premeditated participation” in the incident. The case leaves him confronting either lasting public stigma, even if acquitted, or, if convicted, a prison sentence, loss of inheritance rights and complete separation from Mango.

Jonathan Andic was transferred in handcuffs from his home near Barcelona to Court of Instruction Number 5 in Martorell, where he appeared before magistrate Raquel Nieto. Until recently, expectations were that he would merely be summoned to testify regarding the December 14, 2024 death of his father, not arrested by the Mossos d'Esquadra and brought before court as a suspect.

Escorted by five police officers, Andic arrived at the courthouse around 12:30 pm and answered only questions from his lawyer, Cristóbal Martell, according to Spanish media reports. Prosecutor Teresa Yoldi subsequently requested pre-trial detention with the possibility of bail. The judge approved the request, setting bail at one million euros. His legal team raised the amount within hours, allowing his release under strict conditions, including surrendering his passport, remaining in Spain and reporting weekly to the court.

Contradictions and forensic findings

In her ruling, the judge outlined five main areas of evidence gathered during the regional police investigation into Isak Andic’s death.

The first concerns inconsistencies in Jonathan Andic’s statements. Initially, he told investigators the two were walking together when his father stopped to take a photograph before allegedly falling. In a later statement, he claimed he had been walking ahead and did not witness the fall. Investigators also noted he omitted mention of a mobile phone later found in Isak Andic’s pocket.

A second key element involves Jonathan Andic’s visits to the location prior to the incident. While he claimed to have visited the area roughly two weeks before the alleged accident, police vehicle tracking reportedly placed him there on December 7, 8 and 10, just days before the death. Investigators cited these repeated visits as possible evidence of planning and premeditation.

The ruling also references technical reports and the autopsy, which questioned whether the fatal fall was accidental. Investigators suspect the scene may have been manipulated by scuffing the soles of the victim’s shoes and creating slip marks on the ground. According to the reports, these marks appeared deliberate and inconsistent with an accidental fall. The autopsy further stated that the injuries did not match a typical slip or forward fall, noting the absence of injuries to the victim’s palms.

A fourth area of suspicion centres on Jonathan Andic’s mobile phone. Investigators questioned the disposal of the device he was carrying at the time of the incident after he replaced an iPhone 14 with a 16 Pro model and later claimed the original phone had been stolen during a trip to Ecuador. The timing reportedly coincided with renewed media attention on the reopened investigation in March 2025.

Family tensions and inheritance concerns

The judge’s ruling also points to longstanding tensions between father and son. According to the court, the strained relationship dates back to Jonathan Andic’s unsuccessful tenure leading Mango before he was replaced by Toni Ruiz, who later became chief executive officer and chairman.

The ruling states that WhatsApp messages contradicted Jonathan Andic’s claims of a positive relationship with his father, describing him as having an “obsession with money” and repeatedly requesting advances on his inheritance. The court also noted that Isak Andic had considered creating a charitable foundation and restructuring his estate, decisions Jonathan allegedly learned about in mid-2024. Investigators believe this may have motivated a subsequent attempt at reconciliation aimed at preserving his inheritance.

The Andic family has publicly maintained Jonathan Andic’s innocence. Following the ruling, family representatives reiterated their “absolute conviction” that he was not responsible for the Mango founder’s death. His lawyer, Cristóbal Martell, criticised the homicide allegations as “inconsistent” and argued the proceedings were unfairly stigmatising his client before trial.

Possible legal and corporate consequences

Even if acquitted, Jonathan Andic could face long-term reputational damage. A conviction, however, could carry far more severe consequences.

Under Spain’s Penal Code, homicide carries a prison sentence of 10 to 15 years. Prosecutors could also pursue more serious charges if the case is classified as murder involving a vulnerable victim, given Isak Andic was 71 at the time of his death.

A conviction could also affect Jonathan Andic’s inheritance rights. Spanish civil law states that individuals convicted of acts against the life of the deceased can be declared unworthy of inheriting. In such circumstances, inheritance rights may pass to their descendants instead.

The developments may also have implications for Mango’s governance. While the company has not publicly commented, Jonathan Andic’s future on the board could depend on decisions taken by the Andic family, which controls 95 percent of the retailer’s capital.

American denim brand Lee, part of Kontoor Brands, has unveiled its first celebrity collaboration designed with eight-time Grammy Award winner Kacey Musgraves exclusively for Walmart, with all pieces priced under 50 US dollars.

The 100-plus-piece collection is named Kacey Lee, after Musgraves’ first and middle names, and spans men’s and women’s denim tops and bottoms, as well as dresses, sleepwear, swimwear, accessories, and pet items.

Vivian Rivetti, global vice-president for design at Lee, said in a statement: “We are thrilled to work with Kacey and Walmart on this collection. Lee has been providing denim staples and trend-relevant styles to Walmart shoppers for 30 years.

“This capsule is a new opportunity to showcase Lee’s craftsmanship and quality in silhouettes that reflect Kacey and will appeal to younger consumers. The collection feels fresh, modern, perfect for enjoying summer concerts, and it’s at a value that only Walmart can offer.”

The collection draws inspiration from Musgraves’ Texan roots and Americana style, and features high-res boot cut jeans with an all-over star pattern, denim shorts with a curved hem, a denim vest with an adjustable back buckle, a cropped chore jacket with Lee’s signature hickory stripe pattern, cheeky Rider shorts with a star-printed pockets that peaks out at the bottom, and a denim shirt with red contrast piping for women.

The men’s collection offers Lee’s straight relaxed jeans and utility workwear jacket with a subtle paisley print inspired by the classic bandana, and hickory striped carpenter shorts, which hit just below the knee.

Other styles include graphic T-shirts in various silhouettes, including tank tops, baby tees, oversized and ringers, featuring Musgraves’ personal mottos and inspiration from her ‘Middle of Nowhere’ album with lyrics, images and sayings.

There are also bikinis and one-pieces in the swimwear capsule, denim-inspired totes, handbags and hats, bag charms and belts, as well as pet accessories inspired by the singer’s pup, Pepper, designed to coordinate with the fashion collection.

Commenting on the collection, Musgraves added: “The idea of this capsule excited me, not only because my middle name is ‘Lee,’ but because it feels very nostalgic. I grew up wearing Lee, and I wear a lot of denim, vintage tees and workwear, so this partnership felt like a natural fit.

“I loved collaborating on the designs and finding ways to incorporate my lyrics and elements of my personality. The goal is always to design pieces I would personally wear, and I know y’all will love it as much as I do.”

The Kacey Lee collection will be available exclusively at Walmart and Walmart.com, launching in approximately 2,100 stores nationwide. Fashion apparel prices range from 8 to 42 US dollars, while accessories and pet items range from 6 to 25 US dollars.

Ryan Waymire, senior vice president of adult fashion at Walmart U.S., said: “We’re proud to bring this exclusive collaboration to our customers as we continue to build Walmart as a destination for fashion, culture and self-expression.

“Our long-standing partnership with Lee, rooted in quality and heritage, combined with Kacey Musgraves’ distinctive voice and style, allows us to deliver a collection that feels both authentic and fresh. Together, we’re offering standout pieces that make incredible style accessible for customers—whether they’re shopping for everyday wear or their next summer concert.”

US retail corporation Target has announced that Jeff England will join the company as executive vice president, chief global supply chain and logistics officer, effective May 31, 2026.

England will report to Lisa Roath, Target chief operating officer, and will be responsible for accelerating supply chain plans to improve the retail shopping experience.

The company is entering a new chapter of growth with a focus on leading with merchandising authority, elevating the guest experience, accelerating technology and strengthening its team and communities. A critical part of that plan is continuing to build supply chain capabilities to deliver greater speed, reliability and precision.

“Guests come to Target for great style, design and value – and they trust we'll be in stock and ready for them every time they shop,” said Michael Fiddelke, Target chief executive officer. “Elevating that guest experience is one of our top priorities, and Jeff's deep expertise across operations, engineering, technology and automation, along with a strong track record of leading operations of various sizes and complexities, is exactly what will be required to strengthen how we deliver for our guests.”

England joins the retailer from US technology solutions provider QXO, where he served as chief supply chain officer and improved inventory availability, reduced transportation costs and strengthened operational excellence. Prior to that, England was chief supply chain officer at Genuine Parts Company and spent nearly two decades in a variety of operations, strategy and finance leadership roles at US retail giant Walmart.

The executive experience ranges from running individual sites of front-line teams to overseeing and improving entire supply chains.

“It's an honor to join Target and be part of such an iconic brand,” said England. “I'm confident in the company's growth plan and priorities, and I'm excited to get started with the team, building on its strong foundation to further strengthen the speed, reliability and precision of the supply chain.”

Target current chief supply chain and logistics officer Gretchen McCarthy will transition into a strategic advisor capacity through August, 2026.

“Gretchen has made many meaningful contributions to Target during her long career at the company,” said Fiddelke. “She set up our operations, capabilities and team to be ready for this next phase, and I'm grateful for her leadership.”

American designer brand Calvin Klein, part of PVH Corp., has unveiled a limited-edition capsule collection with South Korean singer/songwriter Jung Kook, the youngest member of K-pop group BTS.

The move marks Jung Kook’s first-ever fashion collaboration and builds on his existing relationship with Calvin Klein, as he has been a global brand ambassador for the label since March 2023 and has featured in numerous campaigns.

The 20-piece Jung Kook for Calvin Klein capsule, for men and women, reimagines Calvin Klein’s essentials through the lens of Kook’s “rebellious” personal style, blending biker attitude with Calvin Klein’s storied design codes.

The collection is rooted in underwear and key denim silhouettes, including the ’90s trucker jacket and ’90s straight and low-rise baggy styles, alongside graphic T-shirts, sweatshirts and a racer jacket, with the capsules “worn-in-edge” emphasised by distressed denim accents and racing stripe details.

In addition, the capsule has special ‘CKJK’ logo branding, interior woven labels, hidden embroidery, and Jung Kook-inspired graphics and custom denim washes, as well as exclusive packaging, designed to offer “depth and collectability” to the range.

David Savman, global brand president at Calvin Klein, said in a statement: “This collaboration brings together two cultural forces at full power, combining the unmistakable influence of Jung Kook with Calvin Klein’s iconic brand codes to create something with real impact.

“Through Jung Kook's lens, we’re able to express a more personal side of the partnership, inspired by his individuality and passion for motorcycles, all interpreted through the Calvin Klein aesthetic. Together, we are reimagining our icons for today in a way that feels authentic, culturally resonant and globally compelling.”

To highlight the collaboration, Calvin Klein tapped British fashion photographer Alasdair McLellan to shoot the campaign, which draws inspiration from Jung Kook’s love of motorcycles.

Commenting on the collaboration, Jung Kook added: “Partnering with Calvin Klein over the past few years has given me the opportunity to express myself through the brand’s iconic style, and it’s been exciting to work with Calvin Klein in this more personal, creative way.

“As my first fashion collaboration, I wanted to fully immerse myself in the process, leveraging Calvin Klein’s design expertise to leave my mark on every piece. This capsule feels authentic to my style and my love of riding and is a meaningful way to shape something lasting through design and storytelling.”

Jung Kook for Calvin Klein will be available on calvinklein.com/CKJK in participating markets, and in select Calvin Klein stores and wholesale partners from May 20, with retail prices ranging from 29 to 699 US dollars.

Limited-edition men’s and women’s underwear styles will be available exclusively at Calvin Klein’s Harajuku, Soho and Champs-Élysées flagships. While Jung Kook for Calvin Klein bespoke retail pop-ups will be opening in Los Angeles, Singapore, Thailand, Sydney, Melbourne, Taiwan, Malaysia, ShenZhen, ChongQing and Shanghai.

Toronto Metropolitan University continues to expand opportunities for fashion students and alumni through runway showcases, interdisciplinary collaborations and industry-facing projects that bridge education with professional practice.

Recent initiatives from TMU’s School of Fashion highlight how fashion education is increasingly centred on experiential learning, creative entrepreneurship and public visibility for emerging talent.

Runway experiences as professional training

One of the university’s key educational initiatives is FSN 706: Fashion Event Planning, an immersive course in which students collaboratively produce a live runway presentation within a condensed academic timeline. The course culminated in a professional showcase at Fashion Art Toronto, where students presented collections to both industry professionals and public audiences.

Students participating in the project took on roles spanning production, creative direction, branding and event management, reflecting the increasingly multidisciplinary nature of fashion careers. Faculty described the course as a way to prepare students for the realities of fashion production by combining collaboration, deadlines and live public presentation into a single educational experience.

Supporting emerging designers through public platforms

TMU’s annual end-of-year showcase, Mass Exodus, has also become a major platform for graduating students. The 2025 edition featured more than 60 collections and over 40 exhibition projects, drawing hundreds of attendees and highlighting the diversity of student work emerging from the programme.

The showcase included runway presentations, exhibitions and student-led production teams, giving participants experience not only in design but also in communications, sponsorship, curation and event coordination. The event reflects broader changes within fashion education, where schools increasingly emphasise industry simulation and collaborative learning environments.

Expanding definitions of fashion careers

TMU’s School of Fashion also continues to highlight the varied career pathways available to graduates, including entrepreneurship, sustainability, styling, merchandising, Indigenous design, visual communication and fashion technology.

Alumni featured by the institution include designers, business founders, sustainability advocates and creative professionals working across fashion, media and cultural industries, demonstrating how contemporary fashion education increasingly extends beyond traditional runway-focused careers.

The university has also integrated sustainability and social impact into many of its recent projects and collaborations. Programmes such as Fashion X LANDMADE connect students with local fibre farmers and makers to explore sustainable production methods, while other initiatives spotlight work by queer, Black, Indigenous and racialised designers.

These projects reflect broader shifts across fashion education internationally, where schools are responding to industry demand for more inclusive, environmentally conscious and socially engaged approaches to design and fashion business.

As TMU continues developing partnerships, live showcases and interdisciplinary programmes, its School of Fashion illustrates how universities are increasingly positioning fashion education as a combination of creative practice, professional training and cultural leadership.

Copenhagen Fashion Week announced the designers and brands for the spring/summer 2027 edition of its CPHFW New Talent support programme on Thursday.

As part of the programme, which is supported by Pandora, Studio Constance will be newly admitted. It joins existing labels Stem and Anne Sofie Madsen, who will present their second and third and final presentations within the programme this season, respectively.

The brands Renè, Sson and Taus have also been selected as “One To Watch” talents. They will present their upcoming collections in August during Copenhagen Fashion Week in various show and presentation formats.

Institution is also part of the official programme. As the winner of the Zalando Visionary Award 2026, it will receive its own showcase as part of the August schedule.

“The new selection demonstrates the breadth and creative strength of the next generation of designers. In the current climate, targeted support for new voices is crucial,” explained Cecilie Thorsmark, CEO of Copenhagen Fashion Week. The programme offers talents structured support, from creative development to market-ready positioning.

Pandora CEO Berta de Pablos-Barbier also emphasised the importance of the initiative. “Creative development needs targeted support to secure long-term innovation and craftsmanship. CPHFW NEWTALENT makes an important contribution to the future of the industry.”

The programme is Copenhagen Fashion Week's central support platform for emerging Nordic designers, combining financial support, mentoring and presentation opportunities. Funding for the grants is provided by programme partners, including Pandora.

New York - From Gucci in the middle of Times Square to Chanel on a New York subway platform, Europe's most prestigious fashion houses are staging an increasing number of spectacular shows in the United States. The US is a market that is both a priority and a trendsetter.

Dior, which presented a collection with retro accents and American flag colours at the Brooklyn Museum in 2024, chose the Los Angeles County Museum of Art (LACMA) in mid-May for a cruise show paying homage to the golden age of Hollywood cinema.

On Wednesday, Louis Vuitton is taking over another museum, the Frick Collection in New York, for its own cruise show. This comes just a few days after launching a menswear collection inspired by the Big Apple.

The French house and the prestigious cultural institution have also announced a patronage partnership, featuring exhibitions and free evenings sponsored by Louis Vuitton.

Experts agree that all this demonstrates the renewed interest of luxury houses in the American market. “For several years, the Chinese market has seen significantly slower growth. The Middle Eastern market is also suffering,” observes Pierre-François Le Louët, president of the strategy consulting agency NellyRodi.

Despite the recent bankruptcy filing of the group that owns luxury department stores Saks Fifth Avenue, Neiman Marcus and Bergdorf Goodman, “the American market (...) remains a safe haven” in a context of geopolitical and economic instability, adds Serge Carreira. Carreira is a professor at Sciences Po Paris and one of the directors of the French Fédération de la haute couture et de la mode.

In New York specifically, “turnover is high,” states Pierre-François Le Louët. With its frenetic pace of construction, the city regularly offers new spaces for luxury boutiques.

Embodying modernity

The challenge for major fashion houses, however, remains to reach the widest possible audience, continues Serge Carreira. Since the United States is “a very strong cultural reference point”, showing there allows them to deliver both “a specific local message” and have a resonance “on the global market”.

Images of Chanel models on the New York subway in December went viral, propelling two of them onto the steps of the Met Gala, the annual fashion and celebrity event, in early May. Images of former American football player Tom Brady and reality TV pioneer Paris Hilton walking for Gucci in Times Square on Saturday, watched by Kim Kardashian among others, went around the world.

Major European houses want to continue to “embody modernity”, and this also involves the celebrities present in the front rows of the shows, according to Pierre-François Le Louët.

Losing momentum compared to its European counterparts, New York Fashion Week, held in February and September, is the subject of a reform attempt planned for 2027.

“In the short term, one might get the impression that the Americans are being overtaken,” concedes Valerie Steele, curator of the museum at the Fashion Institute of Technology in New York. “However, competition is generally a good thing.”

These spectacular shows on their home turf “remind American brands of the immense prestige of European haute couture, and therefore, if they want to compete, they must make an extra effort or consider a different approach,” she says. Above all, “more broadly, it revives interest in fashion”.

New York - From Gucci in the middle of Times Square to Chanel on a New York subway platform, Europe's most prestigious fashion houses are increasingly staging spectacular shows in the United States. The US is a market that is both a priority and a trendsetter.

Dior presented a collection with retro accents and American flag colours at the Brooklyn Museum in 2024. In mid-May, the brand chose the Los Angeles County Museum of Art (LACMA) for a cruise show paying homage to the golden age of Hollywood cinema.

On Wednesday, Louis Vuitton will take over another museum, the Frick Collection in New York, for its own cruise show. This comes just days after launching a menswear collection inspired by the Big Apple.

The French house and the prestigious cultural institution have also announced a patronage partnership. This will include exhibitions and free evenings sponsored by Louis Vuitton.

Experts agree that all this demonstrates a renewed interest from luxury houses in the American market. “For several years, the Chinese market has seen significantly slower growth. The Middle Eastern market is also suffering,” observes Pierre-François Le Louët, president of the strategy consulting agency NellyRodi.

Despite the recent bankruptcy filing of the group that owns luxury department stores Saks Fifth Avenue, Neiman Marcus and Bergdorf Goodman, “the American market (...) remains a safe haven” amid geopolitical and economic instability. This is according to Serge Carreira, a professor at Sciences Po Paris and an executive at the Fédération de la haute couture et de la mode in France.

In New York specifically, “turnover is very high,” states Pierre-François Le Louët. With its frenetic pace of construction, the city regularly offers new spaces for luxury boutiques.

Embodying modernity

The challenge for major fashion houses, however, remains to reach the widest possible audience, continues Serge Carreira. Since the United States is “a very strong cultural reference point,” showing there allows them to deliver both “a specific local message” and resonate “on the global market.”

Images of Chanel models in the New York subway in December went viral, propelling two of them onto the steps of the Met Gala, the annual fashion and celebrity event, in early May. Images of former American football player Tom Brady and reality TV pioneer Paris Hilton walking for Gucci in Times Square on Saturday, watched by Kim Kardashian among others, went around the world.

Major European houses want to continue to “embody modernity,” and according to Pierre-François Le Louët, this also involves the celebrities present in the front rows of the shows.

Losing momentum compared to its European counterparts, New York Fashion Week, held in February and September, is undergoing a reform attempt with a 2027 target.

“In the short term, it may seem like the Americans are being overtaken,” concedes Valerie Steele, curator of the museum at the Fashion Institute of Technology in New York. She adds, “competition is generally a good thing.”

These spectacular shows on their home turf “remind American brands of the immense prestige of European haute couture, and therefore, if they want to compete, they must make an extra effort or consider a different approach,” she says. Above all, “more broadly, it revives interest in fashion.”

The eldest son of Spanish clothing empire Mango's founder Isak Andic was released on Tuesday after posting one million euros' bail following his arrest in a murder inquiry into his father's 2024 death.

After being detained by police on Tuesday morning and taken to court in handcuffs for questioning, Jonathan Andic left the courthouse in Martorell in northeastern Spain, where he was accompanied by his lawyers, according to an AFP reporter at the scene.

He did not answer questions from journalists.

The 45-year-old was ordered to surrender his passport, appear weekly before the court, and was banned from leaving the country, the court said in a statement, adding the case was being "investigated as a charge of homicide".

According to the judge's order seen Tuesday by AFP, there was "sufficient evidence" to suspect Jonathan killed his father in a premeditated manner. It mentioned his alleged "obsession with money", a strained relationship and contradictions in his account of events.

Jonathan was alone with his 71-year-old billionaire father when the clothing empire founder plunged to his death in the Montserrat mountains near Barcelona on December 14, 2024.

According to the forensic report, as cited in Tuesday's order, the fall was "as if he had gone down a slide, feet first".

At the time of Isak's death, authorities said he had fallen from a height near the Salnitre caves in Collbato, an area marked by steep drops and ravines.

Investigators initially treated the death as an accident, with early findings suggesting Isak, one of Spain's richest men, may have slipped.

A judge closed the case in January 2025 after finding no evidence of criminal wrongdoing.

However, investigators with Catalonia's regional police force, the Mossos d'Esquadra, along with prosecutors reopened the investigation in October 2025 after citing inconsistencies in Jonathan's testimony, according to media reports.

Family tensions

Spanish newspaper El Pais reported at the time that authorities had seized Jonathan Andic's phone shortly after the death.

It also cited testimony from Isak Andic's partner, professional golfer Estefania Knuth, describing the at-times tense relations between father and son.

Authorities have released few details about the investigation, which remains under judicial secrecy, Catalonia's High Court said Tuesday.

Jonathan Andic has denied any responsibility for his father's death and has maintained that the fall was accidental.

A statement from the family said they had "total" confidence in Jonathan's innocence, adding that "there is no, and will not be, any legitimate evidence against him".

Family lawyer Cristobal Martell called the homicide theory "incoherent" and painful", saying "it stigmatises an innocent man".

Jonathan began his professional career in Mango in 2005 after studying audiovisual communication in the United States and business in Spain.

He began to manage the Mango Man line two years later and was the vice-chairman of Mango's board at the time of his father's death.

4.5 billion dollar fortune

Born in Istanbul, Isak moved with his family to Barcelona from Turkey as a teenager in the late 1960s.

He opened his first Mango shop on the Paseo de Gracia, Barcelona's famous shopping street, in 1984 with the help of his older brother Nahman. It was hugely successful.

His Mango brand quickly mushroomed across Spain and has become one of the world's leading fashion groups, with about 2,850 stores worldwide.

The company has a presence in more than 120 markets, with more than 16,400 employees worldwide, according to its website.

In December 2023, Isak transferred five percent of his company for the first time to a third party -- his right-hand man, Toni Ruiz, the group's CEO and its current leader.

Last October, Ruiz and the other two executors of Isak's estate issued a statement praising the legacy of what they called a "visionary entrepreneur", and said they were convinced of Jonathan's innocence.

At the time of his death, Forbes estimated Isak's fortune at 4.5 billion dollars.

Google on Tuesday unveiled the design of new smart glasses, returning to a market the tech giant tried -- and failed -- to crack more than a decade ago.

The glasses, expected to go on sale later this year, will challenge Meta which has built a commanding lead with its Ray-Ban smart glasses, which have sold at least seven million units.

The Google's so-called "audio glasses" will be equipped with a microphone, camera and small speaker, and will allow users to make calls, listen to music, take photos and chat with the Gemini AI assistant.

The company, which gave no firm release date or pricing details, unveiled two collections at its annual Google I/O developer conference near its Mountain View, California, headquarters: one from US eyewear brand Warby Parker and another from South Korean designer Gentle Monster.

Samsung handled the technical development. The glasses will be compatible with both Android and Apple phones.

For Google, the launch marks a long-awaited return to a sector where it suffered one of its most high-profile failures: the Google Glass, released in 2013 with an integrated camera, which was shelved after sparking widespread concerns about privacy and surveillance.

This time, the company is betting on design to win consumers over.

Google's camera-equipped model is likely to invite the same privacy questions that have followed Meta.

Google is also working on glasses with a built-in display, similar to the latest model Meta brought to market in fall 2025. That version, previously shown as a prototype last year, has now advanced further in developer testing, Google announced, without providing additional details.

Despite a slump in consumer spending, major specialist sports retailers in Germany are hoping for a boom from the Football World Cup. The tournament in the USA, Canada, and Mexico, which begins on June 11, is expected to lift spirits and boost sales of football shirts, fan merchandise, and team sports equipment. This was reported unanimously by the three industry giants Intersport, Sport 2000, and Decathlon.

“Consumer sentiment is at a three-year low. We expect this major tournament to provide a positive stimulus in this regard,” Intersport's chief executive officer, Alexander von Preen, told the German Press Agency. He noted that in times when there is not much to be cheerful about, two phenomena can be observed in retail: “On the one hand, people are buying more colourful clothing. On the other, they are looking for a distraction. They want to escape their daily routine and seek community with others.”

Major sporting events like the Football World Cup offer this distraction to many people. This is why stores are offering more than just the product, such as public screenings. “If the German team plays well, it works. I am firmly convinced of that,” said von Preen.

Retailers expect sales increase

Sport 2000, based in Mainhausen, Germany, also expects additional business. Such tournaments generally have a positive effect on consumer sentiment and sales, said the retailer association's head of team sports, Björn Endter. “Experience shows that a World Cup year contributes to a sales increase of two percent of our total turnover.” In the team sports segment, growth of around ten percent is even possible. According to Endter, the closer the tournament gets, the more footfall and purchasing impulses increase.

Decathlon also expects more customers in its stores and online shop. “A major sporting event of this magnitude acts as a catalyst, based on our experience,” the company announced from its German headquarters in Plochingen. “The enthusiasm for the tournament creates a positive underlying mood, which experience shows translates into a noticeable increase in sales.”

Will hundreds of thousands of shirts be sold again?

Fan merchandise, team sports textiles, and footballs are expected to benefit in particular. The companies are placing a major focus on the sale of football shirts. During the 2024 European Championship in Germany, the approximately 700 Intersport retailers alone sold half a million jerseys. Decathlon and Sport 2000 did not provide figures at the time but also reported very high sales figures.

Sales at the time were driven enormously by the pink away shirt of the German national team. It struck a chord with customers and was temporarily sold out. “The shirt remains the centrepiece of such a tournament,” a Decathlon spokeswoman said. Following the success of 2024, fans continue to look for bold and innovative designs. Football shirts are “no longer just a stadium outfit, but a fashion statement”.

Intersport's chief executive officer, von Preen, expected that, depending on the course of the World Cup, a similar number of shirts would be sold overall as two years ago. For the German national team's shirts, however, he anticipated a different distribution between home and away kits. The white home shirt has sold much better so far than in 2024, said the head of the Heilbronn-based purchasing cooperative. The dark away shirt with its light blue elements has also been very well received.

Sport 2000 reported a successful sales launch for the German national team shirts, which was in line with expectations. “For the current tournament, we therefore expect a stable, high sales level, but without a comparable special effect as seen at the 2024 European Championship,” it was stated. The company hopes, however, for an effect from the fact that these will be the last World Cup shirts for the German national team for the time being. From 2027, Nike will be outfitting the association.

Billion-euro market in Germany

The specialist sports market in Germany is worth billions and is fiercely contested. The industry continues to benefit from a trend towards health and sport. The market leader is Intersport, followed by Sport 2000. Decathlon follows at a distance.

The French company, however, wants to expand its market position in the country and is busily opening new stores. The two associations of independent specialist sports retailers are also expanding. Just as Decathlon is moving into city centres, Intersport, for example, is now focusing on much larger stores. These are intended to appeal to families and more price-sensitive customers. This is made possible by, among other things, gaps in the market, for example, through the disappearance of fashion stores and department stores with sports ranges.

London-based retailer Marks and Spencer Group plc (M&S), has reported its preliminary financial results for the 52 weeks ended March 28, 2026. The group posted a resilient overall performance despite experiencing a significant operational impact from a sophisticated cyber incident during the first half of the financial year.

Including Ocado Retail, group statutory revenue rose 25 percent to 17.3 billion pounds (23.2 billion dollars) and group sales rose by 24.8 percent to 17.4 billion pounds. Excluding the impact of Ocado, group sales saw a modest increase of 1.9 percent to 14.2 billion pounds.

In a statement regarding the group's results, M&S chief executive Stuart Machin commented: “Recovery has taken longer, but there is strong growth potential. To support this, we have accelerated our supply chain improvements... We've now got the momentum to do that at pace.”

Segment performance impacted by systems pause

The fashion, home and beauty segment experienced a demanding year, with sales declining by 7.7 percent to 3.9 billion pounds compared to the prior fiscal period. The decline was primarily driven by the operational disruptions of the cyber incident in the first half. This necessitated a temporary pause in online trading and systems access, which severely restricted product availability and disrupted stock flows across both channels.

Womenswear experienced the most substantial impact from the system disruptions. Despite these challenges, the division recorded an encouraging improvement in customer style perception metrics. The business continued to refine its product appeal by creating a more edited store range, removing 9 percent of options for the spring/summer season.

The segment began to stabilise in the second half of the year, with sales ticking up by 0.2 percent as online trading was fully restored and website traffic grew. Online sales for the full year decreased by 18.4 percent to 1.2 billion pounds due to the gradual recovery over the summer months. Store sales decreased by 2.3 percent to 2.7 billion pounds, though they returned to positive growth in the final quarter.

Profitability compressed by seasonal clearance

The division's adjusted operating profit declined by 55.4 percent to 213.4 million pounds, down from 478 million pounds in the previous year. The segment's adjusted operating margin compressed by 5.8 percentage points to 5.5 percent. This margin erosion was heavily influenced by a 2.7 percentage point drop in gross margin, driven by increased stock management and markdown costs weighted toward the second half to clear excess seasonal stock.

The group enters the 2026/27 financial year with a clear plan to reinvest for growth, prioritising supply chain modernisation, technology transformation and store rotation. A major focus will be placed on rewiring the end-to-end supply chain to expand online capacity and reduce handling costs. To achieve this, M&S has secured a fully automated 437,000 square feet fashion distribution site in Lichfield. The facility is projected to begin fulfilling customer orders in 2027, accelerating online capacity growth at a lower capital cost than initially projected.

Furthermore, digital and technology investments are being accelerated to roll out a new fashion planning platform, upgrade the e-commerce platform and improve the online user experience in search, imagery, check-out and payments. The division aims to double its online sales in the medium term, improve profitability and increase online participation to 50 percent, alongside optimizing a profitable estate of 200 full-line stores by 2027/28.

International wholesale partnerships offset franchise declines

In the international division, reported sales declined by 7.2 percent to 543.3 million pounds, or 5.7 percent at constant currency, following a lagging recovery from the cyber incident and shipment delays to the Middle East. Franchise sales fell by 10 percent to 244.4 million pounds, and owned market sales fell by 9.1 percent to 228.8 million pounds. However, international adjusted operating profit grew by 8.9 percent to 39.1 million pounds due to strict cost management and a reset of franchise terms to invest in trusted value.

Wholesale sales grew by 110.7 percent to 25.5 million pounds, supported by selective new agreements with major retailers, including Nordstrom in the US for fashion and Coles in Australia for food. Online international sales are also expanding through digital marketplaces, notably via an expanded range on Zalando in Europe.

Paris - Chanel returned to growth in 2025 thanks to demand in Europe and the Americas, performing well amidst a slowdown in the global luxury market.

The company reported a turnover of 19.3 billion dollars (up 3 percent, and 1.8 percent on a like-for-like basis), boosted by growth across all its activities, it stated in a press release on Tuesday.

During this period, the house founded by Coco Chanel, famous for its tweed suits and No. 5 perfume, posted a net profit decline of 14.3 percent. The profit fell to 2.9 billion dollars, and the company did not explain the reason for this decrease. Its operating profit, however, rose by 5.2 percent to 4.7 billion dollars.

"Chanel achieved a solid financial performance in 2025, driven by growth across all its activities. This result reflects our constant commitment to investing in our expertise, our global network of boutiques and the customer experience," said Philippe Blondiaux, the chief financial officer, quoted in the press release.

Luxury groups are seeking new growth drivers after a series of boom years, now facing declining demand. Chanel has stood out compared to some of its competitors. Last year, LVMH reported a 5 percent drop in sales to nearly 81 billion euros. For its compatriot Kering, the situation was even more challenging, with an annual sales drop of 13 percent to 14.7 billion euros. Hermès, however, saw its sales climb by 5.5 percent.

Dynamic ready-to-wear

By region, Asia-Pacific, Chanel's main market, saw sales stagnate last year (down 0.6 percent to 9.2 billion dollars). This is a clear improvement compared to 2024, when sales in the region had fallen by more than 9 percent. The decline was due to a sharp slowdown in Chinese demand, which has long been one of the most important growth drivers for the luxury market.

"China returned to growth in the fourth quarter of 2025 and this momentum has continued into 2026," Philippe Blondiaux said in an interview with Bloomberg. Europe performed well with sales increasing by 6.7 percent to 6.1 billion dollars, as did the Americas (up 6.4 percent to four billion dollars).

The house, owned by the Wertheimer brothers, is one of the few in the fashion and luxury sector to remain independent. Chanel does not publicly disclose the financial performance of each of its divisions. However, it indicates that its Fashion collections were supported by the dynamism of ready-to-wear and customer enthusiasm for the new Chanel 25 bag campaign.

Fragrances and skincare were the main drivers of the Fragrance and Beauty division's performance, according to the company. It cited the success of Chance Eau Splendide, a new women's fragrance and the first in eight years.

Growth in the watches and jewellery business was driven by the Coco Crush collection, combined with a solid performance in the US, Chanel said. New boutiques have opened in Sydney, Bangkok and Hong Kong, marking a key stage in the development of Chanel's watches and jewellery business in Australia and Asia.

Finland-based sports equipment and apparel group Amer Sports has reported a 32 percent increase in revenue for the first quarter of 2026, reaching 1.95 billion dollars compared to the same period last year. On a constant currency basis, revenue grew by 26 percent.

The performance was led by its technical apparel segment and outdoor performance brands, prompting management to raise its full-year financial outlook.

Gross margin for the group expanded by 210 basis points to 59.9 percent, while the adjusted gross margin reached 60 percent. Operating profit grew 50 percent to 321 million dollars, resulting in an operating margin of 16.5 percent. Net income attributable to equity holders rose 22 percent to 165 million dollars.

Segment performance driven by technical apparel and outdoor growth

The technical apparel division, which includes the Arc'teryx brand, saw revenue increase 33 percent to 885 million dollars, or 28 percent on a constant currency basis. The segment achieved an omnichannel comparable growth, or omni-comp, of 19 percent. The adjusted operating margin for technical apparel expanded by 250 basis points to 26.4 percent.

Revenue in the outdoor performance segment grew 42 percent to 714 million dollars, representing a 33 percent increase on a constant currency basis. This growth was primarily driven by Salomon softgoods. The adjusted operating margin for this division increased by 480 basis points to 20.4 percent.

The ball and racquet sports division, led by Wilson Tennis 360, recorded a 13 percent revenue increase to 347 million dollars, which translates to 10 percent on a constant currency basis. However, the adjusted operating margin for this segment decreased by 370 basis points to 3.6 percent.

Amer Sports chief executive officer James Zheng stated that the momentum continued across all segments, geographies, and channels during the first quarter of 2026. Zheng noted that the unique portfolio of technical sports and outdoor brands is successfully gaining market share globally.

Upgraded financial outlook for the full year 2026

Following the first quarter results, Amer Sports chief financial officer Andrew Page confirmed that the group has raised its sales, margin, and earnings per share guidance for the full year. Page highlighted exceptional trends across the three largest growth drivers, namely Arc'teryx, Salomon softgoods, and Wilson Tennis 360.

For the full year ending December 31, 2026, Amer Sports now expects reported revenue growth between 20 percent and 22 percent. This projection includes an anticipated benefit of 200 to 250 basis points from favorable foreign exchange impact. The adjusted gross margin is projected to be between 59 percent and 59.5 percent, with an operating margin forecast between 13.4 percent and 13.7 percent.

For the second quarter ending June 30, 2026, the group forecasts reported revenue growth of 22 percent to 24 percent. The adjusted gross margin for the second quarter is expected to be approximately 59.5 percent, with an operating margin between 6 percent and 7 percent. All guidance figures assume that higher International Emergency Economic Powers Act tariffs remain in place.

US fashion group PVH Corporation (PVH) has announced three new appointments to its executive leadership team, including two internal promotions, to accelerate the execution of its multi-year strategic growth plan.

Adelyn Cheong has been promoted to chief executive officer of PVH Americas. In this role, Cheong will oversee the Calvin Klein and Tommy Hilfiger brands in the Americas region. She succeeds Donald Kohler, who has moved to Gap Inc as global brand president and CEO of Banana Republic.

Cheong joined PVH in 2018 to lead Tommy Hilfiger in the Asia-Pacific region and was subsequently appointed president of PVH China in 2021, where she oversaw digital transformation and e-commerce growth. Following her relocation to the US role, Ying Wu will be appointed president of PVH China, alongside her current position as executive vice president and chief financial officer of PVH Asia-Pacific. Cheong will assume her new responsibilities in late summer.

Expansion of global licensing and brand strategy roles

Joel Samaha will join the company on July 6 in the newly created role of president of global licensing, partnerships and expansion. Samaha joins from the US management firm Boston Consulting Group, where he served as a partner in the global consumer and fashion practice.

In this new position, Samaha will assume the global licensing responsibilities previously held by Kohler. He will lead the strategy and execution of non-owned business partnerships, overseeing category and market licenses, joint ventures, strategic partnerships, and global real estate expansion.

Jonathan Bottomley, who currently serves as global chief marketing officer (CMO) for Calvin Klein, will expand his responsibilities immediately to also become executive vice president of group consumer and brand strategy for PVH. Bottomley will focus on scaling global consumer capabilities, data, and insights across both Calvin Klein and Tommy Hilfiger to strengthen engagement with next-generation consumers.

Focus on strategic execution

All three executives will report directly to Stefan Larsson, chief executive officer of PVH. Bottomley will also maintain his Calvin Klein reporting line to David Savman, global brand president of Calvin Klein.

“We are thrilled to add these experienced and talented leaders to our executive leadership team, as we drive next-level execution of our PVH+ Plan and unlock the full potential of Calvin Klein and Tommy Hilfiger,” Larsson said in a statement.

Larsson added that the internal promotions of Cheong and Bottomley would increase their impact on the growth strategy, while the addition of Samaha would further strengthen the expansion of the non-owned businesses.

Patric Spethmann will become the new CEO of Marc Cain in June. In choosing the former chief operating officer of Marc O'Polo, company founder Helmut Schlotterer hasn't opted for a notorious high-profile leader from the fashion industry, known for being in the limelight or for spectacular turnarounds.

However, Spethmann's profile promises to be an exciting appointment for the company's future. He combines a deep understanding of technically complex issues with a great passion for the dynamics of the fashion industry. Throughout his career, from Tchibo and Otto to Marc O'Polo, the new leader of Marc Cain has built a reputation as an expert in operational transformations and a skilled team leader.

In an interview with FashionUnited, he discusses his management philosophy, what makes a good CEO, and his initial approach at Marc Cain.

Why did you decide to move to Marc Cain after your successful years at Marc O'Polo?

Patric Spethmann: In my view, a chief operating officer should achieve their goals within five to eight years. This means tackling issues with great urgency to bring about change. This approach worked very well at Marc O'Polo.

What attracts you to the CEO position at Marc Cain?

It is a fantastic product and an incredibly strong brand with a powerful market appeal. The combination of creativity, quality and forward-thinking is completely embedded in this company, which perfectly captures the zeitgeist. Now that my work at Marc O'Polo is complete, I was drawn to the position at Marc Cain to help the company evolve.

Do you have a plan for how you will proceed at Marc Cain in the coming months?

In the first three months, the goal is to gain a comprehensive and objective 360-degree overview of the company by engaging with all parties involved. This includes managers, employees, customers and stakeholders, in order to get a good feel for the brand and its products. One's perception becomes more influenced the longer one is with a company. It is therefore important to quickly gather different perspectives, evaluate the findings and build a solid understanding right from the start.

Does that mean it's still too early to talk about specific goals at Marc Cain?

That would be completely presumptuous at this stage. We can certainly discuss that at a later date.

Marc O'Polo's turnover has grown rapidly in recent years despite the difficult fashion market. Did that speak in your favour as the future CEO of Marc Cain?

It is essentially the same industry, but a different business. Marc Cain is clearly positioned in the premium segment. It operates differently and the customer base is different, so you certainly can't replicate things one-to-one. Of course, there are some fundamental principles for achieving growth while increasing efficiency. Marc O'Polo managed that well. I was one of five board members there in the end; we were simply a great team.

At least the experience of working in an owner-managed, medium-sized fashion company is transferable.

I have always worked with owners, whether at Marc O'Polo or Depot.

What is the chemistry like between you and Mr Schlotterer?

I have great respect for Mr Schlotterer and for his life's work. I also respect his understanding of how a company must evolve to remain relevant in the future. We are in complete agreement on this and think along the same lines. We are always in close communication.

Do you also see eye to eye on the direction a medium-sized fashion company needs to take?

We share a common understanding on many topics regarding the direction the brand, the products and the company need to take. The important thing is to bring the employees, customers and stakeholders along on this journey.

Letting go can be difficult for company founders.

Mr Schlotterer and I are clear about what is at stake. This is not just about appointing a new CEO, but about continuing his life's work to ensure its future growth. We both understand this. We have known each other for some time and have been able to answer these questions for ourselves: he for himself, I for myself, and us together.

What are the most important tasks of a CEO?

As CEO, I see four pillars. The first is strategy and vision: where does the brand need to go? Where will its relevance be in five, ten and 25 years? The second is culture and values: how do we interact with each other within the company? A clear task for the CEO is to have the right people in the right place and to be in control of the key figures. The overarching goal, however, is to motivate people to develop, to bring them along and to connect them with each other. This is the energy that drives the company forward.

What makes a good CEO in your opinion?

I have always been firmly convinced that a leadership role, whether CEO, COO or director, is a communication role. It is a matter of attitude, direction, decision-making, togetherness and team spirit. Leaders at every level must succeed in building a team of many different characters. These are people who want to work together openly to achieve the best for their company. I believe I have succeeded in this at every stage of my career.

How do you get employees on board?

If you want to inspire change in people, you have to be enthusiastic yourself and inspire others. You cannot achieve that by simply telling them what to do. When they feel for themselves that something exciting is happening and that they are interested in it, they will have the courage to ask: “Hey Patric, tell me, how can I contribute to the company's success?”

What kind of leader do you want to be?

I believe it is very important to be transparent, communicative and authentic. This is especially true for a leader and even more so for a CEO, because you are seen by the entire company. It is important to me that employees understand how I operate: what kind of person I am, what I value, what I cannot tolerate and what I do not want.

Before Marc O'Polo, you worked at German retailers Tchibo, Otto and Depot. What is attractive about the fashion industry?

I have been working in retail for 25 years. It is certainly a particularly challenging time right now, but there has always been a lot of movement. The speed required in this industry, coupled with changing customer demands, has always created a strong dynamic. I still find that fascinating today. The fashion industry is simply exciting and inspiring.

How important is it for you to identify with the industry and the product?

The fashion industry allows you to connect with creative minds and work with truly inspiring products. For me, that makes it incredibly rewarding to invest my time and energy. I identify with it completely; I simply cannot imagine doing a job where I don’t fully believe in the product.

The fashion market is challenging at the moment. What do you think is essential for a medium-sized fashion company to succeed today?

The entire fashion market and the retail industry as a whole are undergoing a deep structural change. Today, the concept of shopping as an event is much more prominent. Additionally, many cities, especially the medium-sized ones where Marc Cain has stores, do not know how to implement this attractively. At the same time, there is a need to invest in large projects to advance technology. To do this, a company must be sustainably profitable. Many medium-sized companies, not just in the fashion sector, are facing this balancing act.

What moments have shaped your career and you as a manager?

Working with teams has been a defining aspect of my career. Discovering and nurturing potential, giving people space, building mutual trust and watching them grow has been very influential. The feeling that my work has a lasting impact and that I have helped to shape someone's development is very fulfilling for me.

Can we conclude that working with people in a team is what drives you and defines your work at the C-level and as CEO?

My job is to foster the development of employees in all departments. They need to be better in every area than I could ever be. This is true for a COO as well as a CEO. Why should employees follow someone who is technically less capable than they are? They will only follow a person they trust, someone they feel has a grasp of the bigger picture at a higher level. This person must be authentic, able to communicate transparently, understand and simplify complex problems in any area, and get to the heart of the matter. They make decisions, build a vision and find solutions together.

The 36th edition of Barcelona Bridal Fashion Week SS27 took place from April 22–26, 2026, bringing together more than 450 brands and showcasing over 1,000 runway looks, solidifying its reputation as an essential event for the global bridal industry.

Barcelona continues to strengthen its position as an international hub for bridal fashion. Spain remains the only Western country whose wedding dress production exceeds domestic demand, ranking as the world’s second-largest exporter after China. Catalonia alone is responsible for more than 40 percent of the country’s bridal gown production. This season’s collections highlighted a wide range of styles, from dramatic voluminous skirts and bubble-layered gowns to sleek silhouettes and sophisticated high necklines.

Top Model

When Dolce & Gabbana created Lauren Sánchez’s wedding gown—defined by its high neckline, long sleeves and corseted bodice—the look quickly set the tone for the year’s most coveted silhouette. BBFW designers confirmed that this refined, structured direction will carry through into 2027.

Katy Corso Bridal SS27

A white gown with intricate lace detailing, a high neckline, long sleeves and a sculptural peplum waist.

Justin Alexander Bridal SS27

A white gown with a structured bodice and a basque waist, a voluminous skirt and a matching lace jacket with a high neckline, long puff sleeves and covered buttons.

Ricca Sposa Bridal SS27

A white lace column dress with a high neckline, and long sleeves. The design included a sculpted bodice and tiered lace details on the skirt. The back featured pearl buttons, a lace-up corset and a scalloped train.

Bubble Up

Echoing recent ready-to-wear collections, bridal designers embraced bubble silhouettes to create dramatic volume in gowns, peplums, and layered constructions that floated away from the body, offering a modern tribute to Spain’s most iconic designer, Cristóbal Balenciaga.

Creazioni Maria Pia Bridal SS27

An off-the-shoulder ball gown characterized by its clean, contemporary silhouette and a distinctive sculptural bubble hem peplum layered over a full skirt.

Serina Bridal SS27

A white jacquard strapless ballgown with a full floor-length bubble skirt.

Lazaro & Maison Pérez SS27

A gown with a structured, embellished corset bodice with a sweetheart neckline and a voluminous bubble skirt in jacquard over layers of tulle

Maximalist Romance

Designers showcased romantic gowns with structured bodices that contrasted with dramatic, floor-sweeping skirts defined by intricate layers of tulle or organza ruffles, which were styled to resemble organic shapes, such as petals or waves.

Demetrios SS27

A gown featuring a structured, strapless sweetheart corset bodice with vertical boning and a voluminous skirt with three-dimensional rosette details.

Kiyoko Hata Bridal SS27

A dress with a structured, strapless bodice above a voluminous, tiered skirt made of multi layered, ruffled tulle.

Diane Legrand Bridal SS27

A dress with a satin bodice featuring a sweetheart neckline above layered organza ruffles on tulle with a front slit.

Modern Minimalism

Several designers showcased a modern minimalist aesthetic, focusing on clean lines and architectural draping rather than traditional lace or heavy embellishment.

Sophia Lopez Bridal SS27

A white asymmetric satin column dress with an open back and a sheer panel over the shoulder, extending to and connecting at the waist.

Allure Bridal SS27

A white satin, floor-length sheath dress with a halter and plunging deep V-neck.

Stephane Rolland Bridal SS27

A white one-shoulder gown featuring a sleek silhouette and a voluminous ruffled train

Two-Piece Separates

Two-piece bridal separates offer versatility and are increasingly popular because they allow brides to easily transition from a formal ceremony to a more relaxed reception or ‘after-party’ look.

Demetrios SS27

A white satin crop top and a matching voluminous skirt with a train.

Candelas Y Felipa Bridal SS27

A white crop top with back straps and cape-style sleeves; a high-waisted, voluminous A-line floor-length skirt with a slight train.

Unbridled Studio Bridal SS27

A cropped textured jacquard bodice with a matching high-waisted, voluminous ball gown skirt.

Akriti Awatwani is a fashion designer from India who recently completed her Master's in Fashion Designing and Technology at Istituto Marangoni, Milan. Her practice is defined by a commitment to pushing fashion beyond traditional boundaries — through structure, emotion, and digital creativity. Her collections are built on minimal yet experimental silhouettes, where construction, space, and storytelling are not supporting elements but central to the design itself.

For her Design Forward 26 submission, Akriti used The Fabricant platform to digitally create and develop her collection. The platform gave her the freedom to experiment with silhouettes, materials, and overall visualisation without being constrained by the limitations of physical production at the concept stage. The creative flexibility it offered allowed her to push ideas further and explore directions that physical sampling would have made impractical.

Akriti sees AI as a tool that opens up an entirely new way of thinking and making. It allows her to visualise ideas faster and experiment more freely — while keeping her own creative direction firmly at the centre of the process. She is particularly drawn to AI's potential to reduce unnecessary pre-production and sampling, envisioning a future where design development happens digitally before any physical pieces are made. For her own brand, this represents a meaningful path toward a more sustainable and intentional approach to fashion.

Looking to the future, Akriti believes AI will become an integral part of fashion — especially in concept development, visualisation, and experimentation — enabling designers to explore ideas that were previously out of reach. But she is clear on one point: creativity and emotional intelligence will always come from the designer. AI, in her view, is a collaborator — one that amplifies human vision rather than replacing it.

Sewing machines whirred across bold fabrics at a Kinshasa atelier where Congolese tailors and their style-savvy customers have revived a suit long associated with life under a dictator. The "abacost" has a closed-front jacket, often with a Mao-style collar and worn without a tie, ideal for the sweltering equatorial heat.

It was the signature attire, along with his leopard-skin hat, of president Mobuto Sese Seko, who began wearing the jacket in the 1970s when Western shirts and ties were all but outlawed. The authoritarian ruler made it compulsory for civil servants to do the same, as a symbol of national identity and a break from the norms of the former colonial powers.

Even its name, an abbreviation of "a bas le costume" or "down with the suit", was an act of nose thumbing. After Mobutu was toppled in 1997 following more than three decades in power, the suit fell out of favour, seen as tied to the old elite.

Now, nearly three decades later, it is back. "It's the trend right now," said Serge Okasol, one of Kinshasa's best-known tailors, adding that orders were streaming in from both old and young. Tucked behind a petrol station in the centre of the Democratic Republic of Congo's capital, the Okasol workshop is reimagining the suit, stitch by stitch. After studying fashion in Paris, Serge and his brother Auguy returned home to take over the family business founded by their father. Ministers, generals, executives and diplomats are now regular customers -- some order up to 15 suits at once, costing around a thousand dollars each.

'Make it our own'

"There are many ateliers like this, but Okasol does it best," one client told AFP, after picking up a costly order. Another customer Percy Losso said the most sought-after designs used African fabrics, turning suits into a statement of "cultural identity". "We take a classic style and make it our own language," Serge Okasol said. The modern abacost often features elaborate embroidery or bright patterns, in strong contrast to the understated look of Western suits. The design starts with the customer, with many bringing ideas inspired by Congolese musicians and influencers who have helped bring back the Mobutu-era suit.

"When you sent me the model on your phone, it had a pointed collar. But here, I've gone with a more classic one," Auguy told a young client, while taking his measurements. For high-profile events, wealthier patrons commission abacosts decorated with floral patterns or beads. Others go further, adding their initials -- or even their own portrait -- to the jacket. The tailors say they live by one rule: "Express your identity".

'The real secret'

Behind the business, a large hangar hummed with high-end machines imported from Germany and Japan. Around 30 workers took on different tasks, from jackets and trousers to sleeves and buttonholes. "People here care deeply about the details," said Serge. "You can judge a suit by its finish."

A few streets away, rows of cheaper suits from Asia hung from makeshift racks along a muddy road. The mass-produced abacost-style jackets sell for around $50, with tailoring done on the spot in dimly lit rooms. Local tailors say the difference comes down to quality, arguing the imports use low-quality fabrics, often mixed with polyester.

"The fabric is the real secret of a good suit," said Auguy. "The fake ones trap heat. With real fabric, you can breathe." In one of the world's poorest countries, style remains a powerful way to assert one's identity, status and pride.

Kinshasa is known for its flamboyantly dressed dandies, or "sapeurs", devotees of a cult movement who spend huge amounts on designer clothes. Whether wealthy or struggling on the city's margins, clothing in Kinshasa is more than fashion, Auguy stressed. "For a Kinshasa man, dressing well is like putting on armour," Serge agreed. "It's about self-esteem and credibility."

LIM College used its 2026 commencement ceremony to emphasise the evolving role of education in preparing students for a fashion industry increasingly shaped by technology, globalisation and changing career pathways.

Speakers throughout the ceremony focused on adaptability, creativity and human-centred leadership as essential qualities for graduates entering a rapidly transforming fashion and lifestyle sector.

Preparing students for a changing industry

During the ceremony, LIM College President Ron Marshall told graduates they are entering an industry where “old playbooks are no longer relevant” and career paths are becoming less predictable. He stressed that while artificial intelligence and data continue to reshape fashion and retail, interpersonal skills and critical thinking remain central to long-term success.

Marshall highlighted that fashion education today must extend beyond technical knowledge, encouraging students to combine creativity with communication, accountability and adaptability. He described these skills as increasingly valuable in a business environment where automation and digital systems continue to expand.

Education grounded in professional practice

The commencement also reflected LIM College’s broader educational philosophy of combining classroom learning with practical industry exposure. The institution, founded in 1939, positions itself around the “business of fashion and lifestyle,” with programmes built around internships and experiential learning.

This approach mirrors wider shifts across fashion education, where universities are placing greater emphasis on employability, industry partnerships and real-world professional preparation alongside creative development.

Graduates from LIM College frequently move into roles across fashion retail, luxury, beauty, technology and merchandising, reflecting the increasingly interdisciplinary nature of fashion careers.

Mentorship, networking and lifelong learning

Commencement speaker and industry executive Elyce Arons encouraged students to view networking as relationship-building rather than transactional career advancement, advising graduates to stay curious, take risks and remain open to unfamiliar opportunities early in their careers.

The remarks aligned with a broader trend within fashion education that increasingly values mentorship, collaboration and professional resilience alongside technical design or business training.

A broader vision of fashion education

The ceremony also recognised faculty achievement and global student representation, with graduates and speakers representing locations including India, Brazil and the United States.

As fashion education institutions continue adapting to technological disruption and changing workforce expectations, the themes highlighted at LIM College’s 2026 commencement suggest that schools are increasingly positioning creativity, communication and ethical leadership as core components of preparing the next generation of fashion professionals.

US retail conglomerate Gap Inc has appointed Donald Kohler as the global brand president and chief executive officer of Banana Republic.

The executive will assume his new role in July 2026 and will be based at the corporate headquarters in San Francisco. Kohler brings more than three decades of leadership experience across the luxury, premium and specialty retail markets to the position. He will be tasked with guiding Banana Republic as the business continues to position itself as a modern explorer lifestyle brand.

Executive track record in global fashion management

Prior to joining Banana Republic, Kohler served as the CEO of PVH Americas, where he oversaw the regional retail, e-commerce, wholesale and licensing businesses for Calvin Klein and Tommy Hilfiger. His previous career history includes senior leadership roles at Italian luxury house Ferragamo, British luxury brand Burberry and Italian denim label Diesel.

The appointment marks a return to Gap for Kohler, who spent more than a decade earlier in his career working in merchandising leadership roles across Gap, GapKids and babyGap.

Gap chief executive officer Richard Dickson noted that Kohler began his product career at the core Gap brand. “Donald is a product-driven leader with deep global expertise and an extraordinary track record of revitalizing brands to new relevance with clarity, discipline, and storytelling that connects with customers to drive growth,” Dickson said in a statement.

Strategic direction for Banana Republic

The appointment comes as the retail group attempts to sustain momentum and elevate the market position of the subsidiary. Under the new leadership, the brand plans to focus on strengthening its product architecture, enhancing brand storytelling and improving both the brick and mortar and digital experience.

Kohler expressed confidence in the heritage of the label and its potential to engage contemporary consumers through a cohesive customer journey. “I believe great brands are built by great teams, and I look forward to getting to know the Banana Republic team and building what's next together,” Kohler stated.

Graduate Fashion Week has unveiled new details for its 2026 edition, placing a strong emphasis on career development, interdisciplinary collaboration and visibility for emerging designers from across the UK’s leading fashion universities.

At the centre of this year’s programme is Talent of Tomorrow, an editorial project created in collaboration with Cold Magazine. Shot in April 2026, the initiative brought together graduating students to style and photograph their final collections, offering an early preview of work set to appear on the Graduate Fashion Week runway.

Spotlight on fashion education across the UK

The project features students from institutions including Leeds Arts University, Kingston University, Manchester Metropolitan University, Nottingham Trent University, University of the West of England Bristol, Northumbria University and Coventry University, reflecting the breadth of fashion education across the country.

By showcasing final-year work in a professional editorial setting, the initiative gives students practical exposure to image-making, styling and branding—skills increasingly viewed as essential within contemporary fashion careers.

Beyond the runway

Graduate Fashion Week 2026 will also feature a Live Talk Space hosting industry panels, interviews and keynote sessions focused on current trends, innovation and the changing structure of the global fashion industry. Organisers say the talks are designed to connect students directly with professionals working across design, media, sustainability and business.

Meanwhile, the Careers Quarter will focus on employability and networking, creating opportunities for graduates to engage with recruiters, brands and industry mentors. As competition for entry-level roles intensifies, initiatives like these are becoming increasingly important in helping students transition from education into professional practice.

Experiential learning and industry preparation

Alongside catwalk presentations and exhibitions, the event’s awards programme will recognise achievement in areas including sustainability, craftsmanship and innovation—highlighting the wider shift in fashion education toward socially and environmentally conscious design practices.

Graduate Fashion Week continues to function not only as a showcase for creative talent, but also as a bridge between higher education and industry. By integrating exhibitions, talks, networking and professional recognition, the event reflects how fashion education is increasingly focused on preparing students for the realities of a rapidly evolving global sector.

As universities adapt curricula to include entrepreneurship, sustainability and digital communication, platforms such as Graduate Fashion Week are becoming central to how emerging designers build visibility, industry connections and career readiness before entering the professional world.

Munich-based luxury e-commerce retailer Mytheresa remains the growth engine for its parent company, LuxExperience B.V., in the third quarter of 2026. The parent company was newly formed around a year ago following the acquisition of e-commerce specialist Yoox Net-A-Porter (YNAP).

Mytheresa's business continues to grow faster than the market, LuxExperience announced on Tuesday in its financial report for the third quarter, which ended on March 31. Mytheresa achieved revenue of 256 million euros (298 million dollars), representing a growth of 5.6 percent. Adjusted for currency fluctuations, revenue increased by 9.9 percent.

The gross margin increased to 47.1 percent from 44.8 percent in the prior-year quarter. Adjusted earnings before interest, taxes, depreciation and amortisation (EBITDA) rose by 50.4 percent compared to the prior-year quarter to 14.1 million euros.

At the group level, LuxExperience, including the results from the acquired YNAP business segments, reported a revenue decline of 5.2 percent to 618.4 million euros. Meanwhile, adjusted revenues remained stable (plus 0.0 percent).

LuxExperience CEO: we are fully on track

The luxury segment, which emerged from YNAP and includes Net-A-Porter and Mr Porter, is expected to show further improvements. This will be driven by a new strategic focus on customer service, full-price sales and cost discipline. The off-price category, which now only includes Yoox following the sale of The Outnet, has also made good progress in implementing a leaner operating model, leading to platform improvements.

“Net-A-Porter and Mr Porter, as well as Yoox, showed further sequential improvements, which are fully in line with our ongoing transformation plan for both segments,” said LuxExperience CEO Michael Kliger. “We are fully on track to achieve our forecasted results for the full 2026 financial year.”

Consequently, the management has confirmed the forecast for the full financial year ending June 30, 2026. A gross merchandise value of between 2.5 billion euros and 2.7 billion euros is expected, along with an adjusted EBITDA margin of between minus one percent and plus one percent.

Interview

British womenswear brand Leny, founded in 2025 by Central Saint Martins graduate Isabella Hoelk, has secured its first retail partnership, launching in-store at Selfridges in London and online.

Launched with a clear vision of creating versatile wardrobe staples for the modern urban woman, Leny has become known for its minimalist and feminine athleisure and occasionwear, and its launch into Selfridges marks the brand’s first chance for consumers to interact with its collections in a physical retail setting.

Leny’s Selfridges offering launches with the brand’s spring/summer 2026 collection, which features seasonal twists on its signature loungewear pieces in pastel hues, silk separates, and its recently launched sleepwear collaboration with influencer Nuria Ma. There will also be several pieces in exclusive Selfridges colourways.

Highlights include padded-shoulder cotton T-shirts, a silk midi skirt with matching halter-neck top, relaxed wide-leg cotton jogging bottoms with embroidery detailing, lace-trimmed jersey crop tops, and a French Terry funnel-neck zip-up top with matching jogging bottoms.

Commenting on the brand’s launch in Selfridges, Hoelk said in a statement: “To be recognised by Selfridges, such an iconic institution, at such an early stage of the brand feels incredibly special, and reinforces the appetite in customers for a more considered, adaptable approach to feminine dressing.

“I didn’t build Leny through a large platform, outside investment or external backing, I came from a design background with a very clear vision of how women want to dress today, so having that recognised by Selfridges at this stage feels both exciting and meaningful.”

Interview with Isabella Hoelk, founder and creative director of Leny

With such a significant milestone, just one year after the brand’s launch, FashionUnited caught up with Hoelk to find out more about what inspired her to launch her own label, what the partnership with Selfridges means for the growth of the business, and to share her considered approach to design, as many of the pieces in the brand’s collection are crafted from sustainable fabrics like bamboo, Tencel and micro modal.

What inspired the launch of Leny?

The launch of Leny was inspired by my time working in luxury, where I felt there was something missing: pieces that were both comfortable and refined, with the versatility to move effortlessly from the atelier to drinks afterwards. I designed Leny for women living in the city, a community of creatives in London who want clothing that feels elevated, effortless, and adaptable to every part of their day.

How does Leny differentiate itself in a competitive contemporary market?

I think Leny differentiates itself through its balance of ease and elevation. The pieces are designed to feel effortless enough for everyday wear, while still refined enough to transition seamlessly into the evening with a pair of heels.

I felt there was a gap in the market for loungewear that extends beyond traditional athleisure. Leny focuses on subtle design details, elevated fits, and premium materials that allow the pieces to feel considered and polished, rather than purely casual. The versatility of the collection allows women to style the pieces in a multitude of ways throughout their day, which makes them feel both practical and timeless.

It was also important to me that the pricing remained competitive. I wanted Leny to feel accessible to the people around me, while still maintaining a strong focus on quality, comfort, and fit.

What does securing the first retail partnership with a retailer like Selfridges mean to the brand?

It means a great deal to us, especially as Leny is only a year old. To be stocked by an iconic retailer like Selfridges feels like a huge milestone, and the fact that they have backed so many of our styles makes the partnership feel especially meaningful.

It also marks the first time our customer is able to experience and try on the pieces within a physical retail space, which is incredibly exciting for our community. Beyond that, the partnership opens the door to a much wider global audience through their online platform, and it feels like a significant step forward for the brand and its future growth.

What are the key products available in Selfridges?

The selection includes a mix of our core loungewear pieces, new SS26 styles, and our collaboration with Nuria Ma. Bringing together these three collections in one space really highlights the diversity within the Leny product offering, while also showcasing the continuity and consistency of the brand across each season.

We also created several Selfridges exclusive colourways available only in store, including our Romance silk set in Sage Green and Balloon trousers in Powder Pink.

Where do you see the brand's physical footprint evolving next? Is the future more wholesale, or do you envision standalone Leny boutiques?

Right now, the focus is on growing Leny thoughtfully and aligning with the right retail partners rather than focusing purely on wholesale expansion. We are still building our community and establishing the brand’s place within the industry.

A physical storefront feels like a natural evolution for Leny. Aesthetics, interiors, and creating a world beyond the product have always been central to the brand through our events and experiences, so I do see a standalone space as part of the future.

Selfridges had always been one of my dream retailers, so reaching that milestone so early in the brand’s journey has been incredibly exciting and has opened the door to thinking about what could come next.

How would you describe your creative process?

Drawing has always been the starting point of my design process. It is the most instinctive way for me to explore shapes, silhouettes, and ideas quickly, and it allows the collection to evolve in a very organic way from the beginning.

At the same time, building a young brand requires constant balance across many different areas of the business. Because of that, I have become increasingly intentional about protecting time for the creative process and ensuring there is space for research, experimentation, and design development alongside the operational side of growing Leny.

Why was it important for you to prioritise sustainable materials and small-scale production?

It was important to me because it allows for a much greater level of control and intentionality throughout the process. Working on a smaller scale means we are able to build close relationships with our suppliers, oversee production more carefully, and maintain a strong focus on quality and materials from the very beginning of the brand.

How did gaining experience at Chanel, Burberry, and Maison Margiela help you launch your own brand?

Working within those houses taught me resilience and how to operate within fast-paced, high-pressure environments, which has been invaluable when building a business of my own. Beyond that, the experience gave me a much broader perspective on what is possible within the industry.

Being able to work inside brands I had admired since I was young made those ambitions feel tangible rather than distant. I think I needed to experience that world firsthand to fully understand the kind of brand I wanted to create for myself.

You recently launched a collaboration with Nuria Ma – how did that come about, and what was the inspiration for the collection?

Nuria Ma is a longtime friend of mine, and the collaboration came about very naturally through conversations between us. One day, while having coffee together, she mentioned wanting to create a sleepwear-inspired collection, which immediately felt aligned with Leny’s identity and the way we approach dressing.

The brand has always been rooted in the idea of taking pieces traditionally associated with home and styling them in a way that feels elevated enough for the evening, so sleepwear felt like a very natural extension of that concept. It also made sense for both of our communities, as Nuria’s audience is very familiar with seeing her within intimate home environments through her content.

The collection also allowed us to introduce new materials such as silk, which brought a new level of refinement to the range, and it has gone on to become one of our most successful launches to date.

Leny is available on the third floor at Selfridges, as well as online at the luxury department store and direct from lenyclo.com.

Versace unveils the La Vacanza 2026 campaign, Versace Obsessed. A commanding dialogue between past and present, honouring its inimitable image-making impact.

Photographed by Steven Meisel, the images capture Versace’s unmistakable power with a conversation that transcends time—a series of intimate bedroom vignettes, uniting new faces with enduring icons embodying the House’s singular strength.

A new generation meets those embedded in the history of the House, surrounded by campaigns that have left an indelible mark on culture. Iconic supermodels paper their bedroom walls, on tearsheets of advertisements photographed by Steven Meisel between 1993 and 2004. Undeniable evidence of Versace’s enduring hold, and testament to a visual language that continues to stir desire.

It’s a dialogue reflected in the La Vacanza collection, itself a conversation with the past, referencing and reimagining the House archive. A clash of couture and the street, bearing definitive icons: denim shirting, printed silk, vivid tailoring, and black leather against gold. The unmistakable marks of Versace.

Versace Obsessed reclaims the rich heritage of the past, asserting its legacy through the unforgettable, unapologetic lens of the present.

Gap is the latest retailer to get football fever ahead of this summer’s FIFA World Cup, unveiling two limited-edition, football-inspired collections, with one designed in collaboration with The Brooklyn Circus founder, Ouigi Theodore.

The OuiGap collection launches on May 29 and features an elevated, football-inspired apparel and accessories collection, drawing on Theodore’s connection to the game and his home country of Haiti. The line pays tribute to Haiti’s historic 1974 national football team, incorporating recurring “’74” motifs across jerseys, jackets, knitwear and coordinated separates.

Commenting on the collaboration, Theodore said in a statement: “There’s something powerful about seeing global sport, heritage, fashion, and art come together. The collection we designed with Gap was created in that spirit. I became a designer to tell stories with history, meaning, and a future. Ayiti to the Future.”

Mark Breitbard, president and chief executive of Gap, added: “Ouigi Theodore is a true collaborator and a culture shifter who understands that fashion is most powerful when it tells a story.

“This collection bridges the gap between heritage style and the electric energy of football fandom and offers fans a way to express their passion with both soul and originality.”

Alongside the OuiGap launch, Gap has also introduced a separate football-themed capsule collection, featuring jerseys, hoodies, T-shirts and hats for adults and children representing England, the US, Mexico, Argentina, Spain, France, Brazil and Japan.

Both collections will be available to shop on gap.com and in select Gap stores across key host cities. The OuiGap collection will be carried across international markets, including the UK, Paraguay, Turkey, China, Vietnam and Mexico. Jerseys and team merchandise will be available in the UK, Japan, Taiwan, Paraguay, the Philippines, Turkey, Greece, China, Vietnam, Peru, Uruguay, Mexico, and Germany.

For several years, Birkenstock seemed to have achieved what few footwear brands had before. It transformed a German orthopaedic sandal into a global object of desire, worn by tourists, fashion houses, celebrities and premium consumers alike.

The narrative presented to investors during its 2023 Initial Public Offering (IPO) is now beginning to crack. This seems to contradict the optimism shown in the company's latest quarterly results. Birkenstock has just announced a 19 percent increase in revenue for the second fiscal quarter of 2026, reaching 618 million euros (718 million dollars).

However, the market is severely punishing the stock.

In an analysis published on May 18, Reuters suggested that investors are “giving up hope” of Birkenstock becoming a true global luxury giant. Three years after its IPO, the company is increasingly seen as a relatively niche premium footwear brand, not as a future equivalent to the major European luxury groups.

The reversal was swift. Following the release of the quarterly results, Birkenstock's stock plummeted by more than 14 percent. According to Reuters, the group's market capitalisation is now approximately 38 percent lower than its valuation at its Wall Street debut, when the company was valued at around 9.3 billion dollars.

Strong growth that is no longer enough to convince

At first glance, the stock's decline seems to contradict the group's actual performance. Few players in the fashion sector are currently reporting growth close to 20 percent amid a global backdrop of slowing consumer spending, geopolitical tensions and economic uncertainty.

The issue is no longer really about Birkenstock's growth. What investors are now questioning is the brand's ability to sustainably support the valuation levels associated with the luxury world.

During its IPO, Birkenstock benefited from an extremely powerful narrative. The German brand embodied the perfect fusion of comfort, fashion, premium lifestyle and aspirational consumption. Its collaborations with Dior, Valentino and Manolo Blahnik, its omnipresence on social media and its global visibility following the success of the Barbie film reinforced the idea that a new casual luxury player could emerge.

This financial narrative was based on an implicit assumption. It suggested that Birkenstock was no longer just a sandal manufacturer, but a global brand platform capable of generating margins comparable to those of major luxury groups.

It is precisely this assumption that is now beginning to falter.

Market rediscovers the limits of the Birkenstock model

According to the analysis published by Reuters, the market now considers Birkenstock to be primarily a company heavily dependent on a single product: the anatomical cork sandal.

This is the key difference between an extremely strong premium brand and a true global luxury house. Major luxury groups typically build their power across several high-margin categories. These include leather goods, accessories, jewellery, fragrances, ready-to-wear and watchmaking. They also possess almost unlimited pricing power, enabling them to withstand economic downturns.

Birkenstock, despite its cultural desirability, remains much more focused.

The brand is certainly continuing to expand its offering, particularly into sneakers, closed-toe shoes and certain accessories. For a large portion of investors, however, the group's economic core remains tied to a relatively simple product that is highly exposed to consumer and fashion cycles. The market thus seems to be reverting to a more traditional assessment of the company. It is viewed as an excellent, profitable and international premium footwear business, but one whose economic potential is more limited than its initial valuation suggested.

Margins become the real issue

The latest quarterly results have also highlighted a significant shift. Investors are now focusing more on margins than on revenue growth.

Birkenstock stated that geopolitical tensions in the Middle East had affected its business in Europe, the Middle East and Africa. According to Reuters and several financial media outlets, the group has also been impacted by US customs duties and rising logistics and industrial costs.

These factors are beginning to weigh on profitability.

For the markets, this is a significant problem. A company considered a luxury player is expected to demonstrate an exceptional ability to protect its margins, even in challenging economic environments. Birkenstock is now starting to show signs of vulnerability in this area.

The group is officially maintaining its annual forecast and still targets growth of between 13 percent and 15 percent for the financial year. Investors, however, now seem to believe that sustaining this growth could become more costly.

Paradox of ‘Made in Germany’

Birkenstock's industrial model perfectly illustrates this tension.

According to Reuters, approximately 95 percent of the group's production remains based in Germany. This choice provides a considerable marketing advantage. The ‘Made in Germany’ label strongly supports the brand's premium image and allows it to stand out in a market saturated with low-cost products made in Asia.

This strategy, however, also comes at a high economic cost.

Mass production in Germany entails higher labour costs, less industrial flexibility and greater exposure to rising energy and logistics costs. The market accepts this cost structure as long as growth is exceptional and margins are increasing strongly. As soon as momentum slows or profitability comes under pressure, perceptions change quickly.

The argument, however, deserves a more nuanced view. In a context of geopolitical tensions, trade wars and the questioning of globalised supply chains, maintaining largely European production can also be a significant strategic advantage. Shorter logistics circuits reduce certain supply risks, limit dependence on international shipping routes and allow for better industrial and quality control.

Birkenstock's European positioning also contributes to its brand value. At a time when many companies are looking to reshore part of their production or secure their supply chains, its industrial concentration in Germany can hardly be seen solely as a financial disadvantage.

The question is therefore probably less about abandoning ‘Made in Germany’ and more about a potential industrial rebalancing. In the medium term, opening regional production or assembly hubs, particularly in North America, could allow Birkenstock to reduce some of its logistics and tariff costs while maintaining its European roots and premium image. This is precisely the equation that investors are now trying to evaluate: how far can Birkenstock preserve its industrial DNA without penalising its future profitability?

A culturally powerful brand

It would, however, be an exaggeration to portray Birkenstock as a company in difficulty.

On the contrary, the latest results show that the brand continues to grow strongly in several regions of the world. According to data reported by Investing.com after the accounts were published, the Asia-Pacific region remains particularly dynamic, with growth exceeding 20 percent.

The brand also retains rare assets, namely an instantly recognisable identity, an iconic product, a strong direct-to-consumer (D2C) presence and a cultural influence that many fashion players envy.

The financial perception, however, has changed.

In 2023, investors bought into the idea that a simple sandal could become the foundation of a future global luxury lifestyle empire. In 2026, Wall Street seems to be returning to a more pragmatic view. Birkenstock is probably an excellent global premium brand, but not necessarily the next LVMH of footwear.

The S.Oliver Group is adding Baldessarini to its "House of Brands".

The Rottendorf-based apparel group is acquiring the brand rights from New Baldessarini GmbH, a subsidiary of the Herford-based R. Brand Group, as announced by the S.Oliver Group on Tuesday. The integration of the menswear brand will strengthen the brand portfolio's position in the contemporary tailoring segment.

"Baldessarini is a strong brand with great potential," says Johannes Rellecke, co-CEO of the S.Oliver Group. "With Baldessarini, we are closing the gap between classic businesswear and modern casual menswear."

Baldessarini instead of Black Label Men

Baldessarini will be established as an independent brand within the "House of Brands". It will have a similar structure to the womenswear label Lala Berlin, which the group acquired at the end of 2023. As a result, Baldessarini will replace the more formal S.Oliver Black Label Men's collection. The relaunch of Baldessarini is already planned for early 2027.

Under the leadership of new co-CEOs Julian and Johannes Rellecke, the S.Oliver Group has been pursuing its realignment towards a "House of Brands" since September. In addition to Baldessarini, this house of brands includes S.Oliver; Comma; QS; Lala Berlin; Liebeskind Berlin and Copenhagen Studios.

The brands will be positioned independently. The focus will be on strengthening brand identity and product quality. In February, a new campus with showrooms and consultation areas was opened at the company's headquarters in Rottendorf. This aims to intensify collaboration with retail partners and enhance brand presentation.

S.Oliver takes over Baldessarini from Röther

In mid-2023, the Röther Group acquired the brands Baldessarini; Otto Kern; Pierre Cardin; Pioneer Jeans and Pionier Workwear. This followed the insolvency of the Herford-based apparel group Ahlers AG. These were subsequently managed as separate limited companies under the newly founded R. Brand Group.

Baldessarini never seemed to really fit into the group's portfolio. Raphael Heinold, CEO of the R. Brand Group, once described the brand as a "fashion pinnacle". He stated it should be more stylish than other brands in the segment, yet remain commercially viable.

It appears there is no longer a place for this within the group: "When we strategically review our brand portfolio, we recognise that Baldessarini is a great brand. However, it does not play a decisive role in our future strategic direction," said Heinold in the statement. "We are therefore delighted to place the brand under the umbrella of a strong corporate group, where Baldessarini can make an important contribution and be strategically developed."

British footwear and accessories brand Kat Maconie, known for its maximalist aesthetic and architectural silhouettes, is expanding its retail footprint with a new boutique in Dubai, United Arab Emirates.

London-based Kat Maconie, which currently operates two permanent standalone flagship stores in London, UK, and San Juan, Puerto Rico, has secured a 2,314-square-foot unit within The Dubai Mall, which houses more than 1,200 retail outlets.

In a statement, the brand said the opening on June 8 will mark “a significant expansion moment for the brand’s international retail presence and continued growth”.

The boutique will showcase the brand’s signature statement footwear and accessories collections alongside an immersive retail concept “designed to reflect Kat Maconie’s bold, colour-driven identity”.

Denim Première Vision, the leading event for the international denim industry, will take place on May 20 and 21 at Superstudio Più on Via Tortona in Milan. The ninth Milan edition, under the patronage of the Municipality of Milan, will present the autumn/winter 27-28 trends. It will also highlight strategic partnerships with Istituto Marangoni and the CBI, a Dutch government agency. Over 60 exhibitors from around the world will be present, with a strong showing from Italy and Japan.

"This edition is distinguished by a renewed offering, with 10 percent new exhibitors and the return of world leaders such as the American Cone Denim and the Indian Arvind Limited," the organisers explained in a note. "The sourcing spectrum is also expanding with the first participation of Pakistani accessories manufacturer Jawaid Bross, ensuring a complete premium offering: 60 percent weavers; 20 percent manufacturers; and 20 percent accessories, technologies and services."

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

Specifically, among the initiatives linked to the partnership, four exhibitors—Isko Luxury by Pg, Advance Denim, Officina39 and Tonello—will host exclusive sessions within the school. Students will present their creative research in the heart of the trade show.

Denim Première Vision's eco-responsible commitment takes a new step forward thanks to a collaboration with CBI, the Dutch government agency. The "Circular apparel Tunisia" project will be highlighted, showcasing the journey of 18 Tunisian companies towards circular production that meets the demands of the European market.

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

Among the main initiatives presented at Denim Première Vision, special attention will be given to Redefining Blue, a pioneering project developed in partnership with Chloris.

For this edition, Chloris and Denim Première Vision will unveil the latest developments of Claessen Blue (Chloris' flagship biosourced dye), along with the initial results of the project's first phase. By bringing together leading denim weavers, Redefining Blue serves as a platform for research, validation and industrial application. This supports the industry's transition to more responsible dyeing processes.

This collaboration "between an innovative technology company and an international trade fair underscores Denim Première Vision's role as a catalyst for collective progress and cross-sector innovation," the note reads.

In the context of this presentation, Chloris will exhibit its latest innovations at a dedicated stand, designed to highlight the distinctive features and scientific foundations of the initiative.

Pioneer Denim and Soko will present three collections created by Adriano Goldschmied, "the godfather of denim," who recently passed away. The collections were designed for Pioneer Denim and developed in close collaboration with Soko's expertise in sustainable chemistry, and will be showcased in a dedicated space in the heart of the DayLight pavilion.

Each collection testifies to Adriano Goldschmied's continuous and meticulous search for a modern and sustainable denim, without compromise from either an aesthetic or technical standpoint.

"These creations embody the lasting legacy he left behind, reflecting the indelible mark he made on our industry and all those who had the privilege of working alongside him," the event organisers stressed in the note.

Denim trends forum

The Denim trends forum will also offer a forward-looking vision for the autumn/winter 27-28 season. It will position denim as a constantly evolving language, shaped by innovation, sustainability and creative expertise.

The forum aims to be a practical tool for rethinking and elevating future collections, encouraging a renewed approach to denim as a living and transformative medium.

The investigation into the death of Isak Andic, the founder of Spanish fashion multinational Mango, has entered a new phase. Catalan regional police, the Mossos d'Esquadra, arrested the founder's son, Jonathan Andic, on Tuesday.

The younger Andic, who serves as the current vice chairman of the board of directors at the Barcelona-based fashion company, is formally charged with homicide. The arrest has been confirmed by the Mossos d'Esquadra to agencies such as AFP.

Board executive faces homicide charge in Martorell court

The elder Andic died at the age of 71 on December 14, 2024, while hiking near the Montserrat mountain outside Barcelona. He was accompanied only by his eldest son, Jonathan Andic, at the time of the incident.

While the death of the businessman was initially accepted as accidental, subsequent reports suggested that investigators maintained a specific interest in the circumstances, questioning the initial findings. Following the arrest on Tuesday, media outlets like La Vanguardia and Expansión reported that Jonathan Andic was transferred to the Court of Instruction number five in Martorell.

The executive will give his statement before the presiding judge regarding the charge of homicide. This development follows a period of conflicting reports, which included an alleged indictment in October and a summons to testify in February.

British footwear and accessories brand Dr. Martens reports making “good progress” as it shifts from a channel-led to a consumer-first operating model, as it delivers a return to profit growth for the financial year ending March 29, 2026, with pre-tax profit (PBT) rising 61 percent.

For the FY26, group revenue reached 764.9 million pounds, down 2.9 percent on a reported basis, or 1.4 percent at constant currency (CCY), which Dr. Martens said was reflective of its strategy to prioritise “quality of revenue and profitability growth,” by reducing clearance activity in direct-to-consumer (DTC) and off-price wholesale channels.

Adjusted EBIT increased 30.6 percent on a reported basis to 79.3 million pounds, while Adjusted PBT was up 61.3 percent to 55 million pounds.

In a breakdown of its regions, Europe, the Middle East, and Africa (EMEA), which includes the UK, reported revenues of 377.5 million pounds, a decline of 1.7 percent or 3.7 percent CCY, with the Americas hitting 278.4 million pounds, and the Asia-Pacific (APAC) region reporting 109 million pounds in revenue.

The report reveals that the Americas were the company’s best-performing region during the year, with full-price DTC revenues up 14 percent, and the full-price mix up 9 points. Wholesale was up 1.2 percent CCY, which included the headwind from a large off-price wholesale deal in FY25. The planned reduction in clearance to focus on full-price resulted in revenue up 1.1 percent CCY.

Dr. Martens pivoting to a consumer-first model driving growth

Its EMEA markets reported “good wholesale growth,” up 7.6 percent CCY, reflecting strong partner relationships and healthy order books, while DTC performance was affected by increased consumer participation in clearance activity, which resulted in a 4 points decline in full-price DTC mix, with revenue in that channel down 13 percent.

The British heritage brand said that growing the full-price mix in its largest EMEA markets, which are the UK, Germany, France, Italy and Spain, is a priority for FY27.

APAC revenue was broadly flat, down 0.3 percent CCY, due to planned reductions in clearance activity, through both e-commerce and with select wholesale partners; however, Dr. Martens highlighted a "strong" full-price retail performance in South Korea.

The company adds that FY26 centred on pivoting to a consumer-first model, following the stabilisation of the business in FY25. This included reducing clearance activity across both DTC and wholesale operations, restructuring its leadership team and simplifying the operating model to drive accountability.

It also placed an objective in reinforcing its premium product positioning, including growing its Lowell, Buzz and Zebzag product families, which now account for 9 percent of pairs, triple the FY25 contribution.

Dr. Martens sells 10.2 million pairs of shoes in FY26

Overall shoe revenue increased by 19 percent, supported by styles such as the Lowell and Buzz silhouettes, alongside its signature products, the 1461 Shoe, Adrian Tassel Loafer and Mary Jane. A breakdown of its product range shows that boots are still the most popular styles at 52 percent, followed by shoes at 31 percent, sandals at 11 percent, and bags and other items at 6 percent. For the FY26 financial year, the brand sold more than 10.2 million pairs of shoes.

Ije Nwokorie, chief executive officer at Dr. Martens, said in a statement: “In FY26, shoes were the standout performer, up 19 percent. Our focus on execution is paying off: we are improving the quality of revenues whilst strengthening margins, cash generation, the balance sheet and overall model resilience.”

Looking ahead to FY27, Dr. Martens said there is “more work to do” in pivoting the business, as it will begin the “scale phase” of its strategy, by increasing brand investment and delivering its improved retail strategy, moving from a transactional one-size-fits-all model to a tiered retail estate which repositions retail as a growth engine, with investment in high-potential stores.

Nwokorie added: “There is still work to do in pivoting the business; however, in FY27, we will also enter the scale phase of our strategy. Desire for the Dr. Martens Brand continues to grow, with more collaborators approaching us, increased wholesale partner support, strong consumer response to new product families, and an excited reaction from the market to our first beacon store on Brewer Street, London.

“In FY27, we will lean in with increased investment in the brand and targeted retail store upgrades, as well as continuing to build strong wholesale partner relationships to support demand at scale. With the operating model reset, key capabilities in place, combined with good visibility of our wholesale order books, our business is now well set up to deliver both our FY27 objectives and medium-term targets.”

A new clothing repair school Ecole de la Réparation in Roubaix is helping revive traditional garment repair skills while responding to growing demand for sustainability-focused fashion education.

Located in what was once France’s textile manufacturing capital, the initiative focuses on teaching repair, alteration and garment restoration techniques as part of a broader effort to extend the life cycle of clothing and reduce textile waste. The programme reflects a wider shift within fashion education toward circular design practices and practical sustainability training, according to the school's website.

Repair skills returning to fashion education

For decades, many fashion programmes prioritised garment creation and trend development over repair and maintenance skills. However, as concerns about overproduction and textile waste intensify, educators and industry organisations are increasingly reintroducing repair-based learning into fashion curricula.

The school in Roubaix positions repair not only as a technical skill, but also as a cultural and environmental practice. Students learn how to restore damaged garments, understand textile construction and work with existing materials rather than relying solely on new production.

This approach aligns with broader European conversations around circular fashion, where extending product longevity is seen as essential to reducing the environmental impact of the apparel industry.

Connecting heritage and future fashion practice

Roubaix’s history as a textile hub gives the initiative additional cultural significance. Once home to a thriving manufacturing industry, the city has increasingly repositioned itself around creative industries, design education and textile innovation.

By teaching repair and restoration techniques, the programme also helps preserve artisanal knowledge that risks disappearing as fast-fashion production models dominate the global market.

Educators involved in the initiative argue that future designers need a deeper understanding of materials, garment durability and maintenance in order to create more responsible fashion systems.

Sustainability through practical learning

The school exemplifies a growing educational trend that merges sustainability theory with practical repair and making. Rather than a separate subject, sustainability is integrated into technical training and studio work. Examples include a Circular Product Design Course focused on redesigning household items for longevity and repairability, a Textile Repurposing Workshop teaching advanced mending to upcycle garments, and Renewable Energy Systems Training which covers ethical material sourcing and disposal alongside installation and maintenance.

As governments, brands and consumers place greater emphasis on circular economy principles, repair education is becoming an increasingly important part of preparing future fashion professionals for evolving industry expectations.

The Roubaix initiative demonstrates how fashion education is expanding beyond design and production to include restoration, reuse and long-term product stewardship—skills that many educators now view as essential for the next generation of designers and makers.

German sportswear company Puma, in collaboration with musician and designer A$AP Rocky, is launching a radically reinterpreted shoe model using a 3D printing process.

The futuristic mule silhouette premiered in February at the fashion show for AWGE, the artist's label, in New York. It is now being released in a striking blue and red colourway with distinctive spike details, Puma announced on Tuesday. The design is based on the legendary Puma Mostro from 1999, whose name is derived from the Italian word for 'monster'. The striking look is complemented by specially designed socks from the joint collection.

“The Mostro was already ahead of its time, so we went one step further,” said A$AP Rocky. “As a mule, it looks authentic yet crazy. We presented it at the AWGE show in New York, and when Puma brought it to life using 3D printing, it reached a whole new dimension.”

The Puma Mostro 3.D Mule will be available online and at selected retailers from May 21 and costs 250 euros.

This article was created with the help of AI.

Savannah Friedkin Jewelry has named former La Perla executive Morgan P. Richardson as its new chief executive officer, ahead of its planned international expansion.

Richardson joins the company with luxury merchandising and consumer expertise. Most recently, she served as president and chief commercial officer at jewellery brand Stephanie Gottlieb. Prior to that, she was president of the Americas at La Perla, where she led a successful restructuring of the US entity. Other leadership roles were at Oscar de la Renta, Barney's and Bloomingdale's.

Commenting on the appointment, Savannah Friedkin, founder and chief creative officer, said in a statement: "Finding the right person to lead Savannah Friedkin Jewelry meant finding someone who sees what I see: that you can make something truly beautiful and hold it to an uncompromising ethical standard - without sacrificing quality.

"Morgan embraces that instinctively, and I am excited to build something together that reflects that belief."

Richardson has been brought on to oversee the commercial, operational and financial architecture of the jewellery business, and will work closely with Friedkin to “protect the integrity of her original creative vision”. The brand is also actively building out its New York-based executive team to scale the brand globally.

"I'm joining with a tremendous optimism about the future. The clarity and strength of Savannah's distinct point of view, combined with her designs, which achieve an unmistakable balance of boldness and elegance, are what drew me to this role," added Richardson. "I feel incredibly energised by this opportunity to build on the success of a house with true originality in today's luxury landscape."

The jewellery brand was founded in 2024 by Friedkin to offer timeless, modern heirlooms that celebrate individuality, sustainable craftsmanship, and everyday luxury. The brand is part of The Friedkin Group, a Houston-based privately held family enterprise whose portfolio includes Auberge Collection, Everton FC, AS Roma, Imperative Entertainment, 30West, and Neon.

Savannah Friedkin Jewelry is currently available online and through its exclusive boutique in Aspen.

Keds, the iconic footwear brand known for timeless style and everyday wearability, introduces the Rillax Collection, a new casual lineup designed for effortless comfort and laid-back versatility. Blending relaxed design with easy, everyday functionality, the Rillax Champion and Rillax Champion Mini deliver a fresh, carefree aesthetic grounded in simplicity and wearability.

Designed for everyday life, the Rillax Collection focuses on soft textures, lightweight construction, and flexible comfort. With cushioned footbeds and easy slip-on silhouettes, each style is made for all-day wear, whether you’re running errands, meeting friends, or out and about, striking a natural balance between comfort and style. Both styles in Washed Twill, Chalky Canvas, and Chambray are also washable, making them a practical option for both travel and daily use. Lightweight and easy to pack, they’re ideal vacation shoes built to keep up with your plans. Simply remove the footbeds, wash on a gentle cycle, and let them air dry for fresh, ready-to-wear comfort.

Rillax Champion

The Rillax Champion brings a pop of fresh color and carefree comfort to your daily rotation. Its soft texture creates a relaxed, sun-washed feel, while the easy slip-on design with hidden gore panels ensures a fuss-free fit. A cushioned footbed delivers cloud-like comfort from morning errands to evening strolls, and a lightweight outsole provides just the right amount of flexibility for all-day wear.

Champion Mini

The Rillax Champ Mini offers a more refined take on casual style. With subtle texture and clean lines, this versatile silhouette features a soft upper and a sleek profile which makes it equally suited for brunch outings or relaxed afternoon walks.

Barbie is partnering with Arizona State University FIDM to launch a new series of summer fashion camps designed to introduce young students to fashion design, creativity and career pathways within the industry.

The programme, announced for summer 2026, reflects growing interest in expanding fashion education beyond higher education settings by engaging students earlier through hands-on creative learning experiences.

Introducing younger students to fashion careers

The camps are designed for middle and high school students and will focus on fashion illustration, styling, textile exploration and design thinking. According to organisers, the initiative aims to encourage creativity while also exposing participants to the broader possibilities of working in fashion and related creative industries.

By partnering with Barbie, the programme also taps into the brand’s long-standing connection to fashion and imaginative play, using it as an entry point for education and self-expression.

Expanding access to fashion education

The collaboration highlights how universities and brands are increasingly working together to make fashion education more accessible and experiential. Summer programmes and pre-college initiatives have become an important recruitment and outreach tool for fashion schools, helping students gain early exposure to design disciplines before entering university-level study.

For institutions such as ASU FIDM, these initiatives also create opportunities to diversify participation in fashion education and introduce students from different backgrounds to creative careers they may not have previously considered.

Blending industry and education

The partnership reflects a broader trend across fashion education toward industry collaboration and experiential learning. Rather than focusing solely on classroom instruction, programmes increasingly incorporate workshops, mentorship and brand engagement to connect education with real-world creative industries.

As fashion schools continue adapting to changing student expectations and industry demands, initiatives like the Barbie and ASU FIDM camps demonstrate how educational institutions are using popular culture and brand partnerships to inspire the next generation of designers, stylists and creative professionals.

Onitsuka Tiger announces the launch of “ROTEMIT™” (pronounced “roh-teh-mit”) a new model inspired by 1980s volleyball shoes and reinterpreted with a modern design.

The ROTEMIT™ utilizes a nylon base reinforced with premium suede overlays. A defining commercial feature is the exaggerated, ribbed gum rubber outsole that wraps upward at the toe and heel, providing a distinct silhouette profile. For a unique branding detail, the heel tab features a stylized, Gothic-inspired "Tiger" script font rather than standard corporate typography.

The lineup consists of six colorways designed to maximize retail segmenting. Clean monochrome versions in black and navy-striped cream target minimalists, while high-contrast combinations of sage green, lilac, burgundy, and hot pink capture fashion-forward consumers.

Accompanied by a low-fi, analog visual campaign featuring vintage CRT televisions and ribbed socks, the launch positions the 1980s indoor court aesthetic as a fresh, commercial alternative to the saturated 1970s runner category. The Onitsuka Tiger ROTEMIT™ is available now via select premium global stockists and online.

Engineered for comfort and everyday performance, the Oakley® Suture Jacket is built from lightweight O-Matter™ across both frame and temples, delivering durability that never slows you down. Dual lenses provide wide coverage and sharp clarity, while Unobtainium® nosepads and silicone earsocks keep everything locked in place through every move. Semi-rim construction, dynamic brow geometry, a distinctive outer lens shape, and molded spike detailing at the aft temple add edge without compromising function.

Molded-in cam hinges and signature Ellipse branding finish the design, purpose-built for athletes to push their game forward and usher in a new design DNA to the Jacket family.

The world of Ralph Lauren is brought to life with Ralph Lauren Catwalk, a stunning visual archive of the Ralph Lauren runway collections, celebrating more than five decades of innovation and influence. Published by Thames & Hudson, this book joins the prestigious Catwalk series as its eleventh volume, marking a historic milestone as the first-ever American fashion house to be featured in this celebrated series, offering an unprecedented look into one of fashion's most celebrated American luxury houses.

Ralph Lauren, whose name is synonymous with American lifestyle, timeless design and impeccable quality, is a cultural icon who has built the Ralph Lauren Corporation into one of the most successful companies in the world. As the first designer to produce a complete lifestyle vision, Mr. Lauren created a global brand exemplified by style, sophistication and the utmost attention to detail. After beginning his career in 1967 designing neckties under the label Polo, he launched his first full line of womenswear in 1972, inspired by his wife and forever muse, Ricky. Ever since, his runway shows have enhanced his storytelling and vision to create not only clothes, but a way of living.

Ralph Lauren Catwalk, authored by renowned fashion journalist Bridget Foley, presents a visual timeline of Ralph Lauren's remarkable history. With over 1,300 original runway photographs, this comprehensive volume documents the designer's extraordinary journey, starting with his debut women's collection in Fall 1972 through to his Fall 2025 Women's Collection. The book captures Ralph Lauren's pioneering cinematic approach to fashion and design through his runway shows, highlighting the vast range within his highly distinctive aesthetic. It provides an intimate look at the designer's masterful ability to blend seemingly contradictory elements - the play of masculine and feminine, rugged and refined - creating a signature look that has defined American style across the globe for nearly six decades.

The book will be available in leading bookstores worldwide and online retailers starting May 7, 2026. This collector's edition joins Thames & Hudson's acclaimed Catwalk series, which has sold over 2.5 million copies globally.

Students from Cleveland’s public arts education programmes recently presented original fashion collections in a runway showcase highlighting the role of creative education in developing future designers and artists.

The event brought together students from the Cleveland Metropolitan School District and Cleveland School of the Arts, giving young creatives the opportunity to transform sketches and classroom concepts into finished runway garments.

Fashion education through hands-on experience

The showcase demonstrated how fashion education at secondary-school level increasingly combines artistic development with practical industry skills. Students participated in multiple stages of the design process, including concept development, illustration, garment construction and runway presentation.

Educators involved in the programme described the experience as an opportunity for students to build confidence, creative discipline and professional exposure while learning how fashion operates beyond the classroom.

Runway events and public showcases have become an important educational tool for many fashion programmes, allowing students to experience deadlines, collaboration and presentation skills that mirror industry practice.

Building pathways into creative careers

For many participating students, the programme also offered early exposure to potential careers in fashion, costume design, styling and creative industries. Arts-focused secondary education programmes increasingly serve as entry points into higher education pathways in fashion and design.

Teachers and programme organisers noted that access to creative education can be particularly important in helping students explore professional opportunities that may otherwise feel inaccessible.

By encouraging students to present original ideas publicly, the initiative also reinforces the growing emphasis on entrepreneurship, storytelling and personal identity within contemporary fashion education.

Supporting the next generation of designers

The Cleveland showcase reflects broader efforts across the United States to strengthen arts and fashion education through community partnerships, student exhibitions and experiential learning opportunities.

As fashion schools and industry organisations continue to advocate for more inclusive and accessible creative education, youth programmes like this are helping introduce students to both the artistic and technical foundations of fashion design at an earlier stage.

The event ultimately highlighted how fashion education can function not only as artistic expression, but also as a platform for skill-building, self-confidence and future career development.

The US-based lifestyle brand collective Centric Brands LLC has entered into an exclusive licensing agreement with the US-based youth retailer Claire’s. The partnership, formed in collaboration with the US-based investment firm Ames Watson, aims to expand the retail presence of Claire’s into new product categories and more than 7,000 additional retail touchpoints across North America.

The strategic move represents a milestone in the strategy of Ames Watson to scale Claire’s beyond its core retail footprint of more than 900 owned locations. The initiative will build a more diversified, multi-channel growth platform for the retailer, which specializes in jewelry, fashion accessories, and piercing experiences for teens and tweens.

Through the agreement, Centric Brands will scale the presence of Claire’s across major retail partners, including Walmart, Kohl’s, and CVS. This expansion will span more than 7,000 retail locations across the US and Canada.

Multi-category product expansion planned

The two entities will collaborate to develop an exclusive collection of trend-driven assortments. The product pipeline will span multiple categories, including cosmetics, jewelry, hair accessories, stationery, bags, and novelty items.

Lawrence Berger, co-founder and partner at Ames Watson, stated that this partnership marks an important step in the evolution of Claire’s into a true multi-channel brand platform. Berger noted that expanding the presence of the retailer beyond its own stores allows the company to meet consumers wherever they shop, while continuing to invest in the in-store experiences that define the brand, such as ear piercing.

Furthermore, Centric Brands will spearhead expansion into additional retailers and categories. These future developments will include apparel, accessories, home goods, and sleepwear.

Alex Fogelson, executive vice president and division head at Centric Brands, expressed pride in partnering with Ames Watson and Claire’s on the exclusive licensing agreement. Fogelson stated that the partnership reflects the ability of Centric Brands to scale beloved brands across multiple retail channels and categories.

The agreement also enables Centric Brands and Claire’s to leverage existing relationships with entertainment studios and other intellectual property holders. This will facilitate the introduction of co-branded licensed products to shop-in-shop and wholesale channels.

Chip Wilson, founder of Canadian brand Lululemon Athletica (Lululemon) and one of the largest shareholders of the company, has released a statement regarding ongoing settlement discussions with the board of directors. Wilson expressed optimism about reaching a swift conclusion to the public dispute, highlighting that both parties appeared to be aligned on major terms late last week.

Wilson stated that there is no reason why a resolution cannot be achieved quickly. He noted that while the board has not provided specific details regarding current points of disagreement, full agreement on principal terms seemed evident as of Friday last week. Wilson remains willing to be constructive, expressing confidence in the independent nominees put forward to bring brand and marketing expertise to the company.

Board proposed eight principal terms for settlement

The dispute saw progress on May 13, 2026, when Lululemon chair Chip Bergh proposed eight principal terms on behalf of the board in an email copying director Marti Morfitt. The proposal outlined the appointment of two of Wilson's nominees to the board after the annual general meeting, alongside the addition of one mutually agreed director before October 2026. Furthermore, one incumbent director would step down at the annual general meeting in 2027.

The board also offered to add the two nominees to the corporate governance and sustainability committee, while creating a product and brand advisory council to seat a third nominee. Additional terms included the acceptance of a board declassification proposal and a recommendation for a supportive vote on the proxy. In exchange, the board required a two-year standstill and non-disparagement agreement, alongside a mutually agreed press release.

Shareholder seeks market standard conditions in response

Wilson responded to the proposal on May 14, 2026, accepting the eight key terms in principle while detailing specific preferences regarding the timing of director appointments. He rejected the concept of pocket resignations for his nominees and requested terms aligned with market standards, such as replacement rights and expense reimbursement.

The founder also requested regular dialogue with board members, framing it as customary engagement for a large, active investor. Wilson clarified that his focus remains on ensuring the board possesses the correct skills, prioritizing brand and product expertise to help Lululemon return to form. He dismissed claims that he intends to dictate corporate strategy, stating his hope is simply to maintain regular communication with governance leadership.

There’s something deliciously mischievous about oversized, larger-than-life forms in brand experience. They are too large to ignore, too playful to behave, and too theatrical to be mistaken for background noise. In a time where we are questioning everything we see, the most persuasive answer from brands might be the most analogue one of all: build it for real, make it enormous, and let people walk around it, photograph it, and feel slightly delighted by the fact that it actually exists. These temporary, disruptive structures have become one of the clearest symbols of this shift, temporary, disruptive structures that turn a street corner, public space or store exterior into a destination, and in doing so give people a reason to visit rather than simply scroll past.

What makes this trend so compelling is that it sits right between the real and the rendered. CGI and FOOH have trained audiences to look twice at a scene that seems impossible. That tension has changed expectations: we are now fluent in hyper-real visuals that may never have existed in the physical world, which only makes a real-life activation feel more potent when it lands with scale and confidence. The smartest brands are not fighting that blurred reality; they are answering it with tangible spectacle. In other words, when everything online can be simulated, the physical has to earn its impact by becoming impossible to ignore.

Moncler’s Have a Puffy Summer campaign is a perfect example of this logic done with charm rather than cynicism. The brand takes the very thing it is known for: puffiness, volume, warmth, and flips it into summer, with whimsical sea-creature inflatables and dedicated pop-up spaces bringing the concept into the real world. Moncler describes the campaign as playful and joyful, and that matters, because the inflatables are not just props; they are the physical language of the idea itself. They turn the brand’s DNA into something you can literally stand beside, photograph and remember, which is exactly why they work so well as an activation device.

Bottega Veneta’s inflated language has a different tone, but the same instinct. In Seoul, the temporary space was described as mixing regular structures with silver inflatable displays, seats and a freestanding perimeter wall, creating a world that felt part retail, part installation and part moodboard made material. That’s the real power of the temporary format: it can soften luxury without cheapening it, adding a surreal, sensorial quality that makes the space feel alive. It disrupts the expected geometry of a store and replaces it with volume, softness and surprise, a reminder that physical retail does not have to be static to feel premium.

Marc Jacobs took the idea and made it instantly legible. The giant inflatable tote bag in New York was exactly what a modern fashion activation should be: simple enough to understand in a split second, strange enough to stop traffic, and oversized enough to become a landmark before it even becomes content. According to Mazarine, the inflatable stood 27 feet tall and 25 feet wide on Ludlow Street for two days, which is precisely the kind of short-lived takeover that makes a city feel briefly re-scripted. It did not just advertise the bag; it translated the bag into an urban event. That is the moment when product becomes icon and icon becomes place-making.

Axel Arigato has long understood that physical spaces are most powerful when they behave like culture, not containers. The brand describes its physical world as emerging from “energetic cultural exchange,” with stores and experiences shaped around conversations, performances, and activations that blur the boundaries between brand and culture. That thinking makes oversized, sculptural installations a natural fit: direct, playful, and slightly futuristic, they reflect a balance of minimalism and social energy. These kinds of temporary structures show that the format isn’t about scale for its own sake, but about creating a controlled rupture in the everyday, a moment where familiar space is briefly re-scripted into something unexpected.

Diesel, meanwhile, has made a habit of treating inflated, sculptural forms as part of its visual grammar rather than a one-off gimmick. Across pop-up stores and immersive set designs, the brand has used oversized, air-filled installations to completely reframe how space is experienced, turning retail environments into something closer to performance art than product display. From temporary spaces that feel like walking into a fully realised installation, to runway environments where inflated, graffiti-like structures dominate the scene, the effect is deliberately disorientating in the best way. It reinforces a core Diesel truth: disruption isn’t an add-on to the message, it is the message. When the form is this bold, the space stops behaving like a backdrop and starts operating as a statement, impossible to miss, and even harder to forget.

What all of these examples have in common is not size alone. It is intent. The format is powerful because it resolves two modern tensions at once: it gives brands a way to create something undeniably physical in an era obsessed with digital illusion, and it provides exactly the kind of instantly legible, visually arresting moment that social media rewards. But the best work goes deeper than content capture. It gives people a feeling of entry into a temporary world, one that is exclusive by nature, generous in spirit and memorable because it briefly remakes familiar space into something uncanny. That is why these installations travel so well online and linger so well in memory: they are designed not just to be seen, but to be experienced.

The bigger insight here is that fashion is moving toward a more confident physicality. Not a nostalgic return to old retail, but a sharper understanding of what the physical can do that digital cannot. It can interrupt routine. It can create scale that people feel in their bodies. It can offer a reason to go somewhere now, rather than save something for later. And in a culture increasingly trained to doubt what is real, that may be the most subversive move of all: not to simulate the world, but to build one, inflate it, and let people step inside.

Now is most certainly the time to really inflate the experience.

Tiia Maria Jaakkola is a Finnish fashion designer based in Denmark, holding a BA from VIA University College (2017) and an MA from Design School Kolding (2023). Her master's thesis, Designing for Circular Fashion by Integrating Upcycling and Digital Tools, established her as a designer whose practice sits at the intersection of craft, sustainability, and emerging technology. With a prior background in business, she brings industry fluency alongside a deeply conceptual, design-led approach.

For her Design Forward 26 submission, Tiia worked exclusively with The Fabricant's AI Design Tools — using text-to-image generation and image-plus-prompt workflows to develop a craft-based mini-collection. Her goal was deliberate: to test whether she could maintain strong authorship and a distinct design identity while working with AI as a creative partner. The result exceeded her expectations.

For Tiia, AI is not simply a productivity tool — it is a transformative force that demands critical responsibility. She argues that advancing with AI must go hand in hand with reconnecting to embodied craftsmanship: without a deep understanding of materials and construction, AI risks becoming a shortcut rather than a meaningful extension of design thinking. She sees the current moment as a dual movement — forward into new technologies, and backward into traditional knowledge.

Looking ahead, Tiia is most hopeful about AI's potential to reduce sample waste and shift the industry away from overproduction toward designing for real needs. She sees AI as a tool that sharpens the iterative design process and enables rapid detail-level development — but only in the hands of designers who are strategic, precise, and rooted in craft. For Tiia, fashion is a platform for sustainability, ethics, and activism — and AI, used responsibly, can strengthen that platform rather than undermine it.

CEO Interview

With a turnover of 193 million euros in 2025 and solid growth of 8 percent, Italian swimwear brand Arena is no longer content with just dominating competition pools. Under the leadership of its CEO Peter Graschi, the heritage brand is making a strategic pivot towards 'wellbeing' and a swimwear extension. This is an analysis of a roadmap that places France at the centre of its 2027 ambitions.

Founded in Landersheim, Alsace, in 1973, Arena maintains an organic link with France, which it treats as its domestic market. “We have a special connection with France; this is where Arena was born. That is why we see this country as our home market,” confides Graschi. This historical proximity now translates into financial stability, which the group intends to capitalise on to accelerate its progress.

From 'Water Instinct' to 'Planet Water': a paradigm shift

The most tangible sign of this transformation is the change in the brand's manifesto. After 20 years under the banner of 'Water Instinct', Arena is now adopting 'Planet Water'. This is not just a semantic adjustment, but a desire to broaden its audience. Where the previous tagline was aimed at pool purists and pure performance, 'Planet Water' aims to include everyone who interacts with water. “We want to appeal to everyone who wants to be active in and around water,” explains the CEO. This more inclusive vision allows the brand to move beyond the swimming lane to invest in the more democratic open water and aqua fitness sectors.

France: a sustainable growth engine

The Group makes no secret of its ambitions for the coming years, driven by the region's momentum. Today, France accounts for 16 percent of global turnover and is expected to remain the spearhead of the strategy towards 2027. Arena plans for annual growth of 7 percent there, relying on a subtle balance: maintaining its supremacy in the 'racing' segment and a strong offensive in beachwear. This technical legitimacy remains its best defence. During the recent World Championships in Singapore (2025), 20 of the 21 open water medallists wore Arena competition suits.

Innovation as a barrier to entry

Faced with the inherent pressure for profitability from investors, Graschi is categorical: innovation is non-negotiable. “Our reason for being is innovation. If we stop being innovative, we become replaceable,” he states. In this technological race, however, Arena is banking on collective intelligence: “R&D does not rest solely on our shoulders. We share these efforts with long-term partners and exclusive specialists. It is a permanent collaboration.”

This strategy focuses on five pillars: compression; durability; buoyancy; hydrodynamics; and now, comfort. This advancement is above all a saving of time and energy for athletes. A top-level swimmer once took 30 minutes to put on her suit, whereas new models reduce this time to 5 minutes. “This allows the athlete to be less exhausted during preparation and to focus exclusively on the competition,” the CEO points out.

Sustainability: the 'textile-to-textile' challenge

Alongside performance, Arena must meet the industry's ecological imperatives. The group is investing heavily to transform its high-volume products into models of sustainability. This is realised through the Powerskin St Next suit—made from Econyl, a 100 percent regenerated nylon yarn—and the use of Lycra EcoMade fibre (70 percent bio-based from corn) for the training swimsuits in the arena Vita Life collection. “Consumption is highest in training. This is where we are investing as a priority to push these sustainable solutions,” explains Graschi.

Beyond the pool: the 'Waterfront' venture

While the brand is now venturing beyond the lane lines, Graschi rejects the overused 'lifestyle' label. He prefers to speak of a 'swimwear extension': hybrid products capable of accompanying the user from the beach to the pool. The brand intends to capitalise on the aesthetics of movement to make its products desirable in the city, similar to the parkas worn by athletes between the changing room and the starting block.

This strategy will be implemented through the European Swimming Championships in Paris next August. Following the success of the Olympic Games, the CEO is counting on a prolonged 'halo effect': “Paris is an inspiring city for anyone who wants to swim more. This event is an essential showcase for credibility and brand image.”

Field strategy: the club offensive

Despite the evolution of its positioning, Arena remains true to its model. Wholesale (45 percent of sales) remains the majority, supplemented by retail (35 percent) and e-commerce (20 percent). In France, the group is strengthening its local network by focusing on the 'grassroots' level. “We are increasingly focusing on working directly with clubs. Our goal is to sign more partnerships to support the development of the sport at the grassroots level and to grow locally,” specifies Graschi. This presence among licensed members and coaches is the foundation on which Arena is building its future legitimacy, far beyond advertising campaigns.

Epilogue: swimming, a sport for life

Ultimately, the 'Planet Water' manifesto touches on a public health mission. Graschi readily cites his father's example: “He is 85 years old; a former passionate cyclist, he took up swimming at 75. Today, he swims his lengths every day. It is fantastic for his quality of life.” For Arena, the ultimate goal is this: to inspire an active lifestyle, from the local swimming pool to the open sea.