As the FIFA World Cup 2026 final approaches, Parisian luxury house Louis Vuitton, the official supplier for the event, presented the new bespoke case designed to transport the trophy, along with a limited-edition luggage line.

The synergy between high-level sport and luxury continues to strengthen. Following a tradition started at the 2010 World Cup in South Africa, Louis Vuitton will mark the FIFA World Cup 2026 final with the official presentation of its new Trophy Trunk, designed to house and transport the competition's official trophy.

Crafted in the house's historic workshops in Asnières-sur-Seine, this special-order item features the trunk-maker's heritage codes: the classic Monogram canvas; leather 'lozine' trimming; and gilded brass corner reinforcements. For this edition, the two front-opening panels are adorned with a hand-painted 'V' motif (for Victory and Vuitton), echoing the golden hues of the trophy.

“For over a decade, Louis Vuitton and FIFA have shared a common commitment to excellence,” noted Pietro Beccari, chief executive officer of Louis Vuitton, in a statement.

A limited-edition commercial collection

Beyond the unique piece seen on the pitch during the final, the LVMH group's flagship brand is capitalising on this long-term partnership by launching a capsule collection under official FIFA license.

This commercial line adapts the visual identity of the official trunk across three hard-sided luggage formats:

• An eight-watch case,

• A Cotteville 16-watch case,

• A Courrier Lozine 110 Trunk, a historic model from the house.

These three pieces, adorned with the classic Monogram and the hand-painted 'V' motif, also include a personalisation option with the buyer's initials, continuing the bespoke tradition of the house from Rue du Pont-Neuf.

This initiative once again illustrates Louis Vuitton's strategy of embedding itself in major international sporting events, a few months after its prominent role in the Paris Olympic Games. It confirms the growing interest of luxury players in global entertainment platforms, which are major image drivers for an international clientele.

GU, the Fast Retailing-owned sister brand to Uniqlo, has launched its fall/winter 2026 collection, the first by new creative director Francesco Risso. The collection is a comprehensive overhaul of the brand's product lineup timed to its 20th anniversary.

Risso, the former Marni creative director, has restructured GU's offering around six lifestyle concepts — Minimal, Classic, Playful, Utility, Sport and Cozy — each presented as a complete wardrobe with its own character, designed to be mixed across categories. The concepts range from monochrome, streamlined pieces to 1970s-inflected casualwear, expressive color and pattern play, functional city-to-outdoors staples, street styles drawing on 1980s and 1990s sportswear, and pastel-toned loungewear.

Pricing stays firmly in GU's value territory: highlighted pieces run from 9.90 dollars for a warm waffle crew-neck T-shirt to 69.90 dollars for a faux leather balloon-hem jacket. The collection has begun rolling out, with the full fall offering available from July 24.

The appointment signals the scale of Fast Retailing's ambitions for the brand. "GU is a business with tremendous potential and a key driver of the Fast Retailing Group's next phase of growth," said Tadashi Yanai, chairman, president and CEO of Fast Retailing, in a statement. "We will take on the challenge of evolving into a global brand together with Francesco Risso, a world-class creative talent."

Risso spent a decade at Prada before serving as creative director of Marni from 2016 to 2025, where he built a distinctive vision shaped by music, art and cultural exploration. His arrival at GU pairs a designer known for expressive, conceptual work with a mass-market value proposition.

"The wardrobe of today needs to feel grounded and accessible, yet also leave space for imagination, individuality, and play," Risso said. "Everyday dressing can be both practical and expressive, familiar and surprising."

The new chapter is framed around the Japanese word "jiyū," meaning freedom. GU president and CEO Tomokazu Kurose said the brand has combined customer-centered product development with Risso's creativity, adding that customers "will be pleasantly surprised by the prices."

Established in 2006, GU operates approximately 480 stores across Asia and entered the US market in 2024 with a SoHo flagship in New York — its first store outside Asia — alongside a nationwide e-commerce site.

Performance swimwear brand Arena has renewed its partnership with USA Swimming, extending the agreement through 2028 in a deal timed to the Los Angeles Olympic Games.

The renewal sees Arena continue as an official partner of the national governing body, which counts 380,000 members across athletes, coaches, officials and volunteers, and is responsible for selecting and training the US teams for international competition, including the Olympics.

"Renewing our partnership with USA Swimming represents more than a sponsorship — it reflects our long-term commitment to the competitive swimming community," said Steve Ozmai, marketing director of Arena USA, in a statement. "From local swim clubs and age-group athletes to Olympic champions, we are proud to support the people and organizations that continue to grow and elevate our sport."

The agreement marks the return of a previous partnership between the two organizations and gives Arena a platform in the US market ahead of a home Olympic Games — a commercially significant window for swim brands, as the sport's visibility peaks on a four-year cycle.

Founded in 1973, Arena has built its business on competitive swimming, spanning racing suits, apparel, footwear and equipment. The Portland, Oregon-based US arm said the deal strengthens a portfolio that already includes partnerships with more than 15 national federations, among them Italy, Australia, Sweden, Hungary and the Netherlands.

Arena's athlete roster

The brand's athlete roster includes world-record holders and Olympic champions such as Gretchen Walsh, Kate Douglass, Summer McIntosh, Alex Walsh, Thomas Ceccon and Gregorio Paltrinieri. Arena pointed to recent world-record performances in its Powerskin Primo and Powerskin Veloce racing suits as evidence of its position in performance innovation.

Under the renewed agreement, the two organizations will collaborate on national events, digital and social media activations, athlete storytelling, grassroots programming and member-focused experiences aimed at engaging swimmers across age groups and ability levels.

"This partnership is about investing in the future of our sport," Ozmai added. "As we look toward Los Angeles 2028 and beyond, we're excited to work alongside USA Swimming to support the athletes chasing their dreams today while inspiring the next generation."

A Second Chance, Inc. will launch the second year of its Fashion Forward Kinspire™ programme this summer, expanding a fashion education initiative designed to introduce young people in kinship and foster care to careers across the fashion industry.

The programme combines mentorship, career exploration and creative learning with a redesigned curriculum focused on confidence-building, personal branding and professional development. Participants will work with fashion industry professionals before taking part in a behind-the-scenes experience during New York Fashion Week.

According to A Second Chance in a press release, the programme has already supported 15 young people from seven cities, connecting them with fashion professionals and cultural organisations. The organisation plans to broaden these opportunities to help participants build professional networks and explore career pathways as they transition into adulthood.

Alongside fashion-focused activities, participants will visit cultural institutions including The Metropolitan Museum of Art and the Schomburg Center for Research in Black Culture, linking creative industries with identity, cultural heritage and personal development.

Fashion Forward Kinspire is a collaboration between Pittsburgh-based nonprofit A Second Chance, Inc., which supports children in kinship care, and Think of Us, a nonprofit focused on child welfare research and innovation. The partners say the initiative is designed to help participants develop professional skills, confidence and industry connections while highlighting the range of careers available within the fashion sector beyond design.

For fashion educators, the programme illustrates how industry partnerships can be used to widen access to fashion education and careers for underrepresented young people. By combining mentoring, experiential learning and exposure to cultural institutions, the initiative demonstrates an approach to creative education that supports both career readiness and personal development.

On Monday, the question was whether investors still believe in independent French textile brands. The initial public offering of Le Slip Français was set to provide some answers.

That moment has now arrived.

Only a few hours after the markets opened, it is still too early to speak of a stock market success or a definitive validation of the model. The debut of Le Slip Français on Euronext Growth Paris did not trigger a financial tidal wave. The initial indicators, however, already reveal something significant.

This initial public offering sends an important signal in an industry that has been profoundly weakened in recent years. The sector has faced a slowdown in consumption; a proliferation of bankruptcies among established retailers; pressure from international platforms like Shein and Temu; and difficulties in financing emerging brands. The signal is that investors are still willing to back independent French players, provided they present a clear, profitable business model capable of scaling.

Cautious but not ignored stock market debut

Le Slip Français made its debut on Euronext Growth Paris this Tuesday. The share was introduced at 14.80 euros, valuing the company at 19.2 million euros.

According to information from Euronext, the offering was oversubscribed, with demand 1.15 times the number of shares available. A total of 13.7 million euros in demand was registered. This included 8.11 million euros from institutional investors and 5.64 million euros from over 7,250 retail investors.

This is a notable figure in a context where IPOs of independent French fashion brands remain extremely rare.

The transaction represents a total fundraising of 13 million euros, but this sum requires careful analysis. Five million euros correspond to a capital increase intended directly for the company's development. Approximately eight million euros relate to the sale of shares held by existing shareholders.

In other words, the IPO is financing a new phase of growth while also providing partial liquidity for some early investors.

Positive first session, but no frenzy

The share's performance during early trading offers an initial insight. Introduced at 14.80 euros, the stock reached approximately 15.90 euros in early trading before losing some of its gains and returning close to its introduction price later in the morning.

Should this be seen as a mixed signal? Not necessarily.

After only a few hours of trading, it is impossible to assess a long-term trend. The first few sessions are often marked by significant volatility. This is particularly true on Euronext Growth, a market dedicated to SMEs and growth companies, where trading volumes are inherently more limited than for large-cap stocks.

The most interesting aspect is therefore not just the share price, but the brand's ability to have found investors willing to support its project.

A complete lack of interest, an immediate drop, or strong distrust would have sent a much more concerning signal.

The market's initial reaction therefore seems to reflect cautious support rather than speculative enthusiasm.

Real challenge: transforming a brand story into economic performance

“We want to show by example that ‘Made in France’ is efficient and competitive,” explained Guillaume Gibault, CEO and founder of Le Slip Français, as quoted in the communication related to the operation and reported by Reuters at the end of June.

This sentence summarises the real challenge of this IPO.

Le Slip Français does not just sell underwear. Since its creation in 2011, the brand has built its proposition on three pillars: French manufacturing; a strong cultural identity; and a community of engaged consumers.

The financial market, however, does not just value a story. It now looks at a trajectory.

The company achieved a turnover of 21.1 million euros in 2025 and returned to profitability with a net profit of approximately 700,000 euros, following a strategic repositioning initiated in 2023.

This transformation is probably the most important element of the case. After facing difficulties in the post-Covid-19 period, the brand revised its model, notably by reducing its physical network, refocusing on digital, and adjusting its price positioning.

Le Slip Français, which once had around 20 stores, now only has two. At the same time, the average price of its products has reportedly been reduced from around 40 euros to 20 euros to broaden its customer base.

The message sent to investors is therefore different from that of its early years. The brand is no longer just seeking to embody a French industrial ideal; it wants to demonstrate that a local model can be profitable.

Made in France as an economic asset

The IPO comes as the French textile industry is going through a complex period. Established retailers are facing declining volumes, pressure on margins, and competition from platforms capable of offering extremely low prices.

In this context, the positioning of Le Slip Français is its main asset. The brand is not trying to compete with the volumes of global textile giants. Its gamble is based on a different equation: transforming its identity, built on local manufacturing, traceability, and industrial commitment, into an economic advantage.

The fundraising is intended to accelerate production capacity, strengthen the brand, and further develop its manufacturing activities for third parties.

The objective is therefore not only to sell more underwear but to become an industrial player capable of supporting other brands with their French production.

Community brand becomes a listed company

One of the most interesting aspects of this operation is the role given to retail investors.

With over 7,250 individual shareholders, Le Slip Français is attempting a symbolic transformation: converting a community of customers loyal to the brand into a community of investors.

This is a model that some brands are now seeking to develop, turning proximity to their consumers into a financial as well as a marketing advantage.

This logic, however, also brings a new requirement. A community can support a brand during an IPO. It does not, in the long term, replace the need to demonstrate profitable growth.

At 11:30am, a positive first signal, but the real test is yet to come

Only a few hours after its stock market debut, it would obviously be premature to draw definitive conclusions about the trajectory of Le Slip Français. The initial trading does not yet allow for an assessment of long-term investor appetite, especially as detailed volumes are yet to be analysed. Several signals, however, are worth noting.

First, the 1.15 times oversubscription of the offering is a favourable initial indicator. In a market where investors are particularly selective regarding fashion players, the brand has managed to convince more than just its existing customer base.

The mobilisation of over 7,250 retail shareholders is also a notable element. For a textile SME, this ability to transform a community of consumers into a community of investors represents an interesting intangible asset.

Finally, the share's performance during the first few hours of trading appears rather reassuring. After rising to approximately 15.90 euros in early trading, the stock returned close to its introduction price without experiencing a sharp decline.

In the context of a listing on Euronext Growth, the absence of an immediate market rejection is in itself a positive first signal.

Caution is still necessary.

A variation of a few tens of cents on the day of the IPO is not enough to validate a business model. On a market like Euronext Growth, which is less liquid than the main compartments, movements can be amplified by still-limited volumes.

The real test begins now: transforming initial investor support into sustainable value creation. Le Slip Français will have to demonstrate its ability to achieve the ambitions presented during its IPO. These include doubling its turnover by 2030 and exceeding a 10 percent operating profit in the medium term. It must also prove that a French textile model can combine identity, profitability, and growth.

The stock market has given Le Slip Français the benefit of the doubt. It now awaits proof. The IPO on Tuesday is not the culmination of an adventure. It is the beginning of a new phase, one where a brand born from a manifesto must now convince the markets.

US-based eVent Fabrics has announced a partnership with Chinese outdoor brand Pelliot to bring its PFAS-free alpineST and windstormST laminates to the Chinese outdoor market, in a deal both companies frame as a step in the industry's shift away from so-called "forever chemicals."

Under the agreement, Pelliot will use eVent's alpineST laminate — a PFAS-free membrane paired with performance face fabrics and a C0 durable water repellent finish — in its spring/summer 2027 alpineST Hard Shell Jacket. The windstormST laminate, which combines eVent's plant-based membrane with recycled and lower-impact face and backer fabrics, will feature in the brand's FW26 windstormST Soft Shell Jacket.

PFAS, a class of synthetic chemicals long used to deliver water repellency in functional textiles, has come under mounting regulatory and consumer scrutiny, making PFAS-free alternatives a commercial as well as environmental consideration for outdoor brands.

"As one of the fastest growing outdoor apparel brands in China, Pelliot is a volume leader, which means this partnership could have a real effect on attitudes towards PFAS in China's explosive, multi-billion dollar outdoor sports market," said Chad Kelly, vice president of eVent Fabrics, in a statement.

Zhao Le, vice president of Pelliot, said the transition toward PFAS-free and low-carbon textiles is "not only an inevitable industry trend but also a fundamental responsibility and mission for leading brands."

Founded in 2012, Pelliot specialises in gear for mountaineering, hiking, travel and skiing, and claims the largest community of Seven Summits and polar trekking enthusiasts in China. The brand is the exclusive apparel supplier to the International Skating Union and the International Ski Mountaineering Federation, an official partner of the 2026 Dakar Youth Olympic Games, and apparel partner to several National Olympic Committees.

The partnership gives eVent a foothold in China's fast-growing outdoor segment, where domestic performance brands are increasingly competing with established international labels on both technical credentials and sustainability claims.

January, a new global running shoe brand rooted in “innovation, inclusivity and considered design” has launched, founded by male and female Black, Indigenous, and People of Colour (BIPOC) runners.

Described as a “next-generation running” brand, January is looking to reimagine high-performance running “for everyone,” reflecting the sport's evolving culture to make it “more accessible without compromising performance and comfort”.

Headed up by founder and chief executive, Wei-En Chang, who brings more than 30 years of product development expertise to the brand, alongside Cheryln Quan-Read, who serves as brand creative director, January debuts with a performance shoe that challenges a core assumption in modern running footwear - that superior cushioning requires excessive stack height and bulk.

January claims that its debut ‘Scignal’ shoe is the first in the industry to feature a single-piece dual-density midsole, making it plush at the heel and firmer towards the forefoot “for responsive cushioning and stability,” and providing a smooth transition without added volume.

At the core of ‘Scignal’ is KineXion technology, January’s proprietary single-piece dual-density midsole made from next-generation supercritical aerospace-grade TPEE (thermoplastic elastomer) foam. Unlike conventional foams that require maximum thickness to achieve softness, KineXion claims to compress softer, rebound faster, and last longer, all at an optimal, lower stack height that keeps runners closer to the ground for a more natural, responsive ride.

Commenting on the launch and debut shoe, Chang said in a statement: “Unlocking every runner’s maximum potential is my goal by designing and delivering products with high performance and style.

“Scignal proves you do not need height to have great cushioning, and you do not need to compromise to deliver performance. It represents the next generation of running footwear thinking – lighter, smarter, more human.”

BIPOC-founded running shoe brand January launches with debut shoe ‘Scignal’

January adds that ‘Scignal’ was also intentionally designed without a carbon plate, which can offer measurable benefits for elite-pace runners, but can increase injury risk for a broader range of runners. Instead, they opted for a nylon shank that provides torsional stability through corners and structural support that complements the foam's softness, delivering a safer and more versatile ride.

Beyond its midsole innovation, ‘Scignal’ also incorporates a range of comfort-focused details, which the brand states are often lacking in higher-priced daily trainers, including a fully padded collar, honeycomb foam gusseted tongue, 6mm supercritical foam insole, and premium breathable mesh lining that work together for a secure fit.

The shoe has also been engineered for unisex comfort with a “women's-first fit framework” for long miles and daily training, and is ultralight, significantly lighter than most max-stack trainers on the market at just 210 grams in US Women’s 10.5 and Men’s 9. Other detailing includes high visibility and reflective highlights, flat laces, and abrasion-resistant synthetic microfibre suede panels.

January adds that wear testers have described the experience as a shoe that “disappears on your foot while running”.

“Scignal is designed for daily runners, long distance trainers, working professionals balancing life and mileage, community focused runners, and anyone seeking a plush yet responsive ride without unnecessary bulk,” adds the brand.

January’s debut shoe ‘Scignal’ is available to pre-order via the brand’s e-commerce for 195 US dollars / 145 pounds / 185 euros, and will be available in three colourways, Morning Mist, Desert Bloom and Twilight Fog, inspired by the natural tones and shifting light of the brand’s San Francisco Bay Area home.

The brand will also be available in select running retailers from August. US launch retail partners include Running Wylder (San Francisco, CA), Wild Runners (Auburn and Fair Oaks, CA), and Milestone Running (San Diego & Pacific Beach, CA).

New York-based fine Jewellery brand FoundRae, known for its symbolic and spiritual designs, has opened its first international flagship store on Mount Street in London.

In a statement, FoundRae said that it chose Mount Street in Mayfair as the store’s location due to the “quintessential” feel of the shopping street, which has retail roots dating back to the 1700s, with the store sitting next door to a Milanese patisserie Marchesi 1824 established 200 years ago, as well as Sautter Cigars, and Allens of Mayfair, a butcher established in 1887, mixing tradition and modernity, which it states are the same attributes found in its “modern heirloom” jewellery.

Located in a Victorian building with “historic charm,” the London flagship has been “uniquely designed in consideration of the location,” explains the brand, complete with its own signature seal, a double cherry, on the doorway, chosen due to the wild cherry being native to all parts of the UK.

Beth Hutchens, founder and creative director of FoundRae, said: “I see symbols as tools of self-discovery and self-expression; a means of accessing and expressing abstract ideas and deeply held values. Symbols give us the power to grasp larger ideas that otherwise can be evasive.

“With our new Mount Street location, the symbols will be the very first thing you see as you are walking by. Even through the front glass, you can see the large hand-painted cards that we create to describe each symbol embedded in the ceiling panels and then on the windowpanes leading to the interior garden.”

The symbol of the double cherry also inspired the expressive, bright, cherry red colourway inside, while the architecture of the store resembles a personal library, lined with shelves that house the chain wall, reminiscent of an antique bookshop, with FoundRae jewellery showcased alongside rows of books.

Commenting on the interior design, Hutchens added: “Ever since we launched, I’ve utilised books as part of our aesthetic. I see our collection as a form of storytelling. And as for our stores, I like the idea that libraries feel comfortable and welcoming and that visitors can get lost in a sea of inspiration.

“I also see the role of a library as sharing, preserving and protecting history, which is a great metaphor of what the FoundRae collection does: We illuminate the personal stories people create, we empower them to be authors of their own story, and the pieces we create preserve that history.”

The shop also includes FoundRae’s on-site studio with a bench-jeweller and hand-engraver, as well as rooms dedicated to the Vertu Collection of home goods. The London store also features an exclusive medallion, only available in person at the Mount Street store, featuring cherries articulated in cabochon-cut garnets and pavé diamonds.

Madrid – Desigual continues to advance its unique and increasingly elevated collaboration policy, announcing its latest partnership with Berlin-based Ottolinger. A regular on the official Paris Fashion Week calendar, Ottolinger has developed a capsule collection with the Spanish company, founded in Barcelona in 1984. This new collection draws from Desigual's historical archive, following the guidelines of its strategic and previous collaborative alliances.

Desigual has highlighted that this collaboration with Ottolinger is particularly special. Its founding creative duo, Christa Bösch and Cosima Gadient, launched the brand from Berlin in 2015. Their creative and methodological vision is as unique as their focus on creating collections through elaborate processes of deconstruction, both aspirational and formal, of traditional tailoring and fashion. The Spanish company adds that in their early days, Bösch and Gadient acquired vintage Desigual garments from second-hand platforms. They would then dismantle, reinterpret, and reconfigure them to create new pieces marked by their own creative imagination. This collaboration draws heavily on that heritage. It is presented as an “organic” alliance between the Ottolinger founders' taste for upcycling and the universe, codes, heritage, and archive of Desigual. These creative impulses will materialise in a collaborative capsule collection developed from the Barcelona-based brand's archive.

“With Ottolinger, Desigual continues to develop a strategy that turns its creative heritage into a platform for innovation and international collaboration,” focusing at all times on establishing “alliances with brands that are defining contemporary fashion,” the Spanish company stated in a press release. They added that now, with the Berlin-based brand, Desigual “continues to project its creativity internationally, reinforcing its cultural relevance and consolidating an increasingly global position,” through a collaborative capsule that “reflects a shared vision between both brands.” This perspective is rooted in the principle of “understanding ‘the archive’ as a living resource capable of generating new aesthetic codes, extending the life cycle of materials, and opening up new possibilities for contemporary design.”

Launch on September 3

While no images of the capsule's garments have been released yet, Desigual has announced that the collection will be available from September 3. On this date, pieces from the collaborative capsule will be available for purchase. The collection will consist of garments from the Desigual archive, reinterpreted by the creative vision of Ottolinger's founding designers. This reformulation process has resulted in “exclusive pieces handcrafted in Barcelona.”

To undertake this process, the Spanish company notes that Bösch and Gadient have been working closely with Desigual's design workshop in Barcelona. They selected archive and inventory garments, assessing them for their prints, colours, and material quality. These pieces were then dismantled and reconstructed by hand to create the deconstructed silhouettes that will characterise the garments in this collaborative capsule collection. The resulting designs will reflect the creative impulses of both Desigual and the renowned Berlin-based design duo.

“The new pieces,” states the Spanish fashion multinational, “reflect the unmistakable creative language of Ottolinger.” However, they note that the “materials, prints, and colours maintain the essence of Desigual.” The result is a “collection that creates a dialogue between the brand's legacy and a new perspective on contemporary fashion.” With it, Desigual “continues to bring its creative universe to new audiences, keeping its innovative spirit alive and its ability to reinterpret design from diverse perspectives” through “these types of collaborations.”

Strategy to advance three objectives

The collaboration between Desigual and Ottolinger should be seen within the context of the brand's drive for revaluation and elevation. This initiative has been central to Desigual since its historic fashion show in Barcelona on June 6, 2024. That presentation for the spring/summer 2025 collection marked a turning point in the Barcelona-based company's history. It was both the culmination of its relaunch plan and the starting point of a careful strategy to elevate the brand and its fashion offerings. The company began to mark new milestones towards this goal, first with the launch announcement of “Studio”, its new premium fashion line. This was followed by its first collaborative partnerships with emerging international brands.

In July 2025, Desigual announced its partnership with the Dutch brand Botter to design a capsule collection. This collaboration can be considered the first in a series of international alliances with emerging, yet already recognised, designers. It was followed by an announcement with the Parisian brand Egonlab in November of the same year; another with the London-based Ukrainian designer Masha Popova in January 2026; and now, finally, the partnership with Berlin-based Ottolinger.

Although part of Desigual's premiumisation strategy, this collaboration policy is a distinct strategy within Thomas Meyer's Barcelona-based fashion group. The Spanish fashion multinational acknowledges that it is pursuing three objectives with each new collaboration with these new brands and young international designers. These goals are: first, to strengthen Desigual's international positioning; second, to connect with new generations of consumers by having the most prominent new voices in fashion reinterpret its archives; and third, to reinforce Desigual's positioning and increase its visibility in key markets for the company, such as the Netherlands, France, and Germany.

Supporting these interpretations, the Spanish company stated, “with this alliance, the company continues its commitment to collaborating with brands that bring new creative perspectives in regions important to Desigual, such as Germany in this case, one of Desigual's main markets, both online and in brick and mortar stores.” They also highlighted that “with this strategy, the brand continues to connect with some of the most relevant new generations of designers in the sector and reinforce its international positioning” at a “key moment for its future,” as the company remains focused on “renewing its image, its collections, its spaces... with the aim of attracting a new generation of consumers.”

Joanna Griffiths is stepping down from Knix, the Toronto-based intimates brand she founded in 2013, ending a 14-year run that took the company from digitally native startup to international omnichannel retailer. Chief commercial officer Nicole Tapscott will succeed her as president.

The departure, first reported by The Globe and Mail and later confirmed by Griffiths on social media, comes four years after Swedish hygiene and health group Essity acquired an 80 percent stake in the business in 2022, in a deal that valued Knix at around 400 million dollars.

¨I'm honoured and excited to share that I'll be stepping into the role of President at Knix. There are very few opportunities that feel truly special, and this is one of them," Tapscott announced on her LinkedIn. ¨While I've know Joanna for a long time, over the last two years, I've had the privilege of watching Jo lead up close. She is one of the most thoughtful and impactful leaders I've worked with, and I mean that in the fullest sense, not just what she built, but how many people's lives she actually changed along the way. Mine included. I'm grateful for the trust Joanna Griffiths and Essity has placed in me and excited to lead this next chapter alongside this exceptional team that I love and respect more than I can easily put into words.

Knix built its name on leakproof underwear, pairing product innovation with candid messaging around women's health. The company has since moved well beyond its e-commerce origins, operating stores across major Canadian markets and building a selective wholesale business.

Tapscott inherits a brand in expansion mode. Knix has said it intends to grow its Canadian fleet to more than 30 stores, including a first location in Atlantic Canada, while adding company-operated stores and select retail partners in the United States. In Canada, a wholesale partnership with luxury department store Holt Renfrew signals the brand's push into premium retail environments.

This article was partially prepared and written by AI.

Adidas closed the first half of 2026 as the sportswear industry's most visible brand, generating 1.9 billion dollars in Media Impact Value (MIV) between January 1 and June 30, according to data from Launchmetrics. The figure represents a 12 percent increase over the second half of 2025 and places the German brand ahead of Nike, which recorded 1.7 billion dollars over the same period. But a closer look at the data reveals how much of that lead rests on a single name: Lionel Messi.

Four of Adidas' five highest-value placements in the first semester were posted by Messi himself, led by a top placement worth 2.7 million dollars in MIV — Launchmetrics’ MIV algorithm assigns a monetary figure to brand exposure across social media, online publications and print. The Argentine was also the brand's top-earning celebrity voice for the period, generating 14.4 million dollars, and his influence extends beyond his own channels. His wife, Antonela Roccuzzo, ranked among Adidas' top influencer voices with 5.3 million dollars in MIV, part of an Influencer category that grew 30 percent for the brand, its fastest-growing Voice of the semester.

This year's FIFA World Cup marks two decades since Messi's tournament debut in Germany in 2006, the same year he switched from Nike to Adidas. He later formalized his relationship with the latter brand through a lifetime contract in 2017.

The dependence cuts both ways. All five of Adidas' top placements for the semester were soccer-related, and with Messi, now 39, playing what is widely expected to be his final World Cup, the brand faces an open succession question once the tournament ends.

Nike, by contrast, spread its bets. Four of its five top placements were also soccer-related — the highest, worth 2 million dollars, tied to its "Rip the Script" World Cup film — but its fastest-growing voice was celebrity, up 37 percent, and its top name for the period was not a footballer. Tennis player Jannik Sinner generated 15.5 million dollars in MIV for the brand, ahead of Real Madrid's Vinicius Jr. at 10 million dollars, with Aryna Sabalenka also ranking in the top five at 7.5 million dollars.

A distant third

Puma, third in the ranking at 421 million dollars, tells a similar story of star dependence at a smaller scale. Three of its five top soccer-related placements came from Neymar Jr., while its fastest-growing voice was owned media, up 40 percent — led by Puma Football (24.4 million dollars) and Puma India (17.7 million dollars), a signal of where the brand sees its next audience. Unlike its larger rivals, Puma showed no June spike, suggesting the World Cup build-up largely passed it by.

The top 10 brands continued with New Balance closing behind Puma at 377 million dollars in MIV. Alo rounded out the top five with 249 million dollars, narrowly ahead of Lululemon at 228 million dollars and Gymshark at 205 million dollars. The North Face and Asics tied at 171 million dollars, taking eighth and ninth place respectively, while Reebok closed the top ten at 127 million dollars.

Madrid – Not in the morning, nor at midday, nor in the afternoon. It was only after the markets had closed that Adolfo Domínguez announced the cancellation of its results publication, scheduled for this past Monday, July 13, 2026. This decision stems from an adjustment to its financial reporting calendar. Under this new policy, the Spanish fashion multinational will no longer report its quarterly results.

To provide context, on July 8, less than a week ago, the management of Adolfo Domínguez informed the National Securities Market Commission (CNMV) via a statement that the company planned to release its results for the first quarter of its new 2026 fiscal year on Monday, July 13. This three-month period runs from March 1 to May 31. During the same period in the previous 2025 fiscal year, the company recorded total net sales of 24.07 million euros at the close of the first quarter, a decrease of 0.06 percent compared to the previous year. This decline resulted in a net loss that was slightly reduced by 6.61 percent to -1.75 million euros.

Following this lacklustre performance, and after the strong financial data with which the company closed its 2025 financial year, there was considerable interest in how the Galician fashion group had started the new 2026 fiscal year. The company reported sales of 139.02 million euros (+1.84 percent) and a net profit of 1.64 million euros (+80.58 percent) for 2025. This is the year the company is celebrating the 50th anniversary of its founding. However, the Spanish fashion multinational has decided not to report on its sales and profit figures until the presentation of its half-year results. This decision will affect all its annual financial information publication calendars from now on.

Cancellation of quarterly financial information

In a surprising and noteworthy announcement, especially considering the quarterly results publication was dated July 8, Adolfo Domínguez confirmed on Monday, July 13, after the markets closed, that it was cancelling the scheduled release of its first-quarter 2026 information. This announcement was nullified following a decision by its board of directors. The company will now cease reporting its quarterly information, limiting itself to what it has defined as the “currently applicable legal requirements”.

Elaborating on the details of the announcement and this change in its financial reporting policy for shareholders and investors, the management of Adolfo Domínguez stated in another communication to the CNMV that the company's board of directors held an ordinary meeting last Friday, July 10, 2026. During this meeting, the governing body of the Spanish fashion multinational agreed to adjust its periodic financial reporting calendar to the “currently applicable legal requirements”. As a result of this change, the company will cease the “voluntary publication” of its quarterly financial information. It will henceforth limit itself to the periodic publication of its half-yearly and annual results and financial information reports, which Adolfo Domínguez emphasises are the “only legally required” ones.

In an attempt to quell any alarm about potentially concerning or disappointing first-quarter 2026 results, which might have prompted this last-minute adjustment to its financial reporting policy, Adolfo Domínguez asserts that “this decision responds to a strategic reflection by the board of directors on the company's financial communication model, in line with the regulatory framework and observed market practice”. They add that “the board considers that this new model promotes a more structural view of the business's evolution and contributes to a more efficient allocation of internal resources dedicated to the preparation and verification of periodic financial information”.

After adopting this change, which “consequently” “nullifies the initially communicated announcement of the publication of the first quarter results for the 2026/27 financial year”, Adolfo Domínguez “reaffirms its commitment to transparency and fluid communication with its shareholders, investors and the market in general, based on criteria of quality, completeness and long-term sustainability”. The company adds that it “will continue to report its results and any other information that must be communicated in a timely manner”. This statement could be questionable given the abrupt change in its financial reporting policy, but Adolfo Domínguez reinforces it by stating it will be done “in accordance with applicable regulations”.

New financing agreement

In the latest update on the company, Adolfo Domínguez announced in a statement issued early this Tuesday morning, July 14, that the group has signed a new framework financing agreement with its banking pool. Under this agreement, the company will increase its current short-term financing lines by 5 million euros to a total of 28 million euros. It will also formalise a new long-term financing operation for a total of 6 million euros.

This framework financing agreement was signed with the banks Abanca, CaixaBank, Banco Santander, BBVA and Bankinter. Combined with the last-minute cancellation of the first-quarter results presentation, it raises questions about the company's current situation. The board of directors of Adolfo Domínguez stated, “this operation allows Adolfo Domínguez to strengthen and balance its financial structure, providing the company with greater flexibility to meet its operational and investment needs”. They also added that the company “maintains its commitment to linking its financing to sustainability criteria”.

Outdoor footwear brand Lowa has appointed Giuseppe De Biasi as general manager operations. He succeeds Alexander Nicolai, who is leaving the company after 12 years.

As Lowa announced on Monday, De Biasi will manage the areas of product development, production and central corporate functions. Together with CEO Andrea Dorigo and general manager commercial Marco Pirani, both of whom were appointed earlier this spring, he will form Lowa's newly revamped three-person management team.

The new appointee comes from eyewear manufacturer Luxottica, where he most recently served as general manager retail for Greater China. De Biasi brings with him "extensive management experience" and has "successfully managed operational organisations and transformation processes in various markets", according to a statement.

Lowa CEO Dorigo, who also heads the Italian parent company Tecnica Group, explained the reasoning behind De Biasi's appointment. "With him, we are gaining an internationally experienced leader with strong operational expertise, strategic vision and comprehensive knowledge along the entire value chain," he explained in a statement. "With his experience, Giuseppe De Biasi will provide important impetus and make a valuable contribution to achieving our strategic goals."

The trekking shoe specialist is focusing its current plans particularly on the "further development of the product portfolio" and the "expansion of its market position in existing and new segments". The company also recently unveiled a new brand identity.

A Quebec judge has convicted former fashion executive Peter Nygard of sexual assault and forcible confinement, tied to incidents that occurred in Montreal during the 1990s.

The conviction came on Monday, the opening day of what had been expected to be a 10-day trial, after the 84-year-old declined to contest the evidence prosecutors had assembled. Quebec authorities first laid the charges against him in 2022.

It is the second criminal conviction Nygard has faced in Canada. In 2024, a Toronto court sentenced him to 11 years in prison after finding him guilty of sexually assaulting four women between the late 1980s and 2005. An Ontario appeals court upheld that conviction earlier this year, rejecting his bid to overturn it.

Gerri Wiebe, Nygard's lawyer, said her client's choice not to fight the Montreal charges was a calculated one, tied to the extradition proceedings he continues to face. Wiebe also said Nygard plans to ask Canada's justice minister to block any extradition to the United States, citing his age and health.

A separate set of historical sexual assault allegations against Nygard in Winnipeg was thrown out by a judge last year, after the court found that missing police records from the original investigation would have compromised his right to a fair trial.

Nygard built Nygard International into a global clothing design and manufacturing business before stepping down as chairman in 2020, just ahead of the company's bankruptcy filing, which followed a raid on its New York offices by U.S. federal authorities. Investigators there have alleged a pattern of abuse spanning decades, implicating at least a dozen women across multiple countries, and have accused Nygard of using his corporate wealth and standing to assault and traffic women in both Canada and the United States.

Once his outstanding Canadian legal matters are resolved, Nygard is expected to be extradited to face those U.S. charges — a process his legal team is now moving to challenge.

Nygard continues to deny all allegations made against him.

In Pictures Adidas Originals and Bad Bunny are marking the run-up to the FIFA World Cup 2026 final with a new sneaker that draws on one of the brand's most storied football silhouettes. The Adidas Originals Bad Bunny F50 Ghost Sprint reworks the F50 line, tracing back to the 2004 "Spider" cleat, into a low-profile lifestyle shoe built for the street rather than the pitch.

The design takes its name and concept from Puerto Rico's wolf spider, an animal known on the island for its speed, echoing Bad Bunny's own roots. The shoe uses a flexible "Araña" cage structure alongside a deconstructed mesh built to hold up in tropical heat, with colorways in Clear Blue, Clear Sky and Light Purple that nod to the original 2004 "Ocean" edition. The release leans into the idea that football's cultural reach now extends well past stadiums and into everyday style, a theme the brand and Bad Bunny have built on together over several collaborations.

Bad Bunny's relationship with Adidas Originals officially began in 2021, with the Forum buckle low "The First Café" launch, before which he had previewed an early adidas Forum design in his November 2020 music video for "Yo Visto Así." Since then, the partnership has expanded to include more than 18 sneaker releases across silhouettes such as the Campus, Gazelle, Response CL and Ballerina, along with a signature cleat collaboration with Lionel Messi and, in 2025, a crossover into Formula 1 through the Adiracer GT with Mercedes-AMG Petronas.

In July 2026, Adidas marked five years of the collaboration with a cultural takeover in Puerto Rico, including an archive exhibition at the Museo de Arte de Puerto Rico featuring 150 products, more than 115 of them previously unseen. The F50 Ghost Sprint extends that now half-decade-long run, applying the same Puerto Rico-rooted design language the partnership has built its identity around to a football-heritage silhouette for the first time.

The Adidas Originals Bad Bunny F50 Ghost Sprint in Blue arrives Saturday priced at $160. The launch lands just before the World Cup final, which is scheduled to take place on Sunday at MetLife Stadium in East Rutherford, New Jersey.

All three major independent proxy advisory firms have sided with Genesco Inc.'s existing board ahead of the footwear retailer's annual shareholder meeting set for July 21, dealing a setback to activist investor Bradley Radoff's push for boardroom change.

Glass Lewis, Egan-Jones, and Institutional Shareholder Services each recommended shareholders back all nine of the Nashville-based company's director nominees using the white proxy card, rather than any alternative candidates put forward by Radoff and the Jumana Group. In its assessment, Glass Lewis suggested the dissident campaign hadn't laid out a convincing rationale or a clearly defined alternative strategy, while also crediting current leadership under CEO Sandy Vaughn with steering the company through a period of strengthening results. The firm pointed to an ongoing strategic push that seems to be lifting operational performance, shareholder returns, and forward guidance, framing Radoff's shorter, less-defined effort as insufficient grounds to unseat sitting directors.

Egan-Jones reached a similar conclusion, tying its endorsement to signs that the company's Footwear First strategy is taking hold, evidenced by improving cash flow, gradual profitability gains, and early wins in repositioning its Journeys chain and remodeling stores. The firm also cited Genesco's stock performance as a signal that investors are warming to the new direction.

In response to the recommendations, Genesco reiterated its call for shareholders to reject Radoff's nominees entirely and cast every vote for the company's own slate. The retailer, which operates more than 1,200 stores across brands including Journeys, Schuh, Little Burgundy, and Johnston & Murphy, has framed the contest as a distraction from strategic momentum it says is already paying off.

The company directed shareholders with questions to its proxy solicitor, Innisfree M&A, and noted that its definitive proxy statement — filed with the SEC on June 15 — along with the white proxy card, is available free of charge through the SEC's website or VoteGenesco.com.

The outcome of the vote will determine whether Radoff's activist campaign gains any foothold on Genesco's board, or whether the incumbent directors retain full control as the company continues its turnaround push.

Madrid – In the latest update on the ongoing conflict in the Middle East between Iran and the US, and the status of the strategic Strait of Hormuz, US president Donald J. Trump has reaffirmed that the maritime corridor remains open for the passage of goods. This security guarantee is provided by the US, and as a result, a 20 percent toll will now be imposed on all cargo passing through it.

President Trump made the announcement, as is now customary, via his official account on his social media platform, Truth. He used the platform on this occasion to announce that, contrary to claims by the Republic of Iran, the Strait of Hormuz remains open. This came just after he congratulated himself on falling gas and oil prices and offered his condolences on the death of Senator Lindsey Graham, stating that flags across the country would fly at half-mast in his honour until 6pm EST on Saturday.

US imposes 20 percent toll on all cargo passing through Strait of Hormuz

The announcement initially seemed to clarify the volatile situation in the strategic maritime passage since the conflict between Iran, Israel and the US erupted on February 28, 2026. However, Trump himself dispelled any sense of stability by adding two further points. First, the US has reinstated an “Iranian blockade” in the strait, which will prevent the entry and exit of all Iranian vessels or those carrying oil and goods from the Persian country. Second, with immediate effect, the US is imposing a 20 percent toll on all cargo passing through the Strait of Hormuz. Trump defends this fee, stating it will compensate the US for the costs incurred in ensuring safe passage through the strait.

“The Strait of Hormuz is open, and will remain open, with or without Iran,” the US president began his message on Truth. However, the president continued, “we are reinstating the ‘Iranian blockade’, so-called because it only prevents the entry and exit of Iranian vessels or customers.” Apart from that transport, Trump detailed, “all other countries will enjoy fair and free passage through the strait.” “The United States will, from this moment on, be known as ‘The Guardian of the Strait of Hormuz’, but as such, and as a matter of justice, it will be reimbursed, at a rate of 20 percent on all cargo transported, for each and every one of the costs necessary to carry out the task of providing security and protection to this very volatile region of the world,” the US president defended. A toll on all cargo passing through the strait, the “constitution of which will begin immediately,” the president added.

Address to the nation on Thursday, July 16

Following this latest announcement on the situation affecting the Strait of Hormuz, and further messages related to the death of Senator Lindsey Graham, Trump's Truth account announced that the US president will deliver an address to the nation this coming Thursday, July 16. He will deliver the speech during prime time, at 9pm EST, but no details have yet been provided about the content or topics Trump will cover in his address.

Rabanne has confirmed the appointment of Olivier Rousteing as its new creative director, marking one of the most closely watched leadership transitions in the luxury sector this season.

The 40-year-old French designer succeeds Julien Dossena, who announced his departure on June 24, 2026 after a 13-year tenure at the Puig-owned house.

“Joining Rabanne is a tremendous honor. This is a House that has always challenged convention, transforming bold ideas into creations that have shaped fashion history. Its spirit of innovation, craftsmanship, and fearless creativity has inspired generations, and today it inspires me. I step into this new chapter with deep respect for the Maison’s extraordinary heritage and with excitement for everything we will build together. For me, fashion is about emotion, identity, and the confidence to express who we truly are. That belief feels deeply connected to Paco Rabanne and his enduring vision of freedom and individuality. I look forward to working alongside the remarkable teams of the House to honor this unique legacy while shaping a future that is bold, inspiring, and open to new possibilities, " Rousteing said in a statement.

Rousteing’s appointment brings an end to weeks of industry speculation, during which multiple reports linked the former Balmain designer to Rabanne.

“Olivier Rousteing’s creative vision is bold, magnetic, and deeply connected to the energy of today. His unique ability to create fashion that celebrates confidence, and self-expression makes him a natural choice for Rabanne. With Olivier, we are opening a new chapter for the House," Ana Trias, president, prestige and fashion brands of Puig, said.

Mid June, outlets including industry newsletter Miss Tweed reported that Rousteing was already in advanced discussions with the house, with a focus on enhancing brand visibility, celebrity dressing and reinforcing Rabanne’s luxury positioning.

Fashion journalist Lauren Sherman also referenced the leadership transition in her June 24 industry newsletter [Puck.news], framing the change within a broader shift at Rabanne as Puig continues to balance its fragrance-led business with ambitions to expand its fashion credibility.

Confirmed: Olivier Rousteing is going to lead Rabanne

Rousteing joins Rabanne after more than a decade at Balmain, where he fundamentally reshaped the house’s global profile by merging luxury fashion with pop culture, celebrity influence and social media visibility. Over 14 years as creative director, he became one of the first designers to fully embrace digital platforms as a core extension of brand storytelling, building what became known as the “Balmain Army” — a global network of celebrities, models and influencers that significantly expanded the house’s cultural reach.

Under his leadership, Balmain evolved into one of the most visible Parisian luxury brands of the social media era, with strong commercial growth reportedly rising from tens of millions in revenue at the start of his tenure to an estimated 300 million euros in recent years. His collaborations, including a landmark partnership with H&M, further positioned the house at the intersection of luxury and mass culture, consistently generating global demand and rapid sell-outs.

Beyond commercial success, Rousteing’s legacy at Balmain is also tied to broader shifts in the fashion industry. He was among the first Black creative directors of a major French luxury house, and his work consistently emphasised diversity, inclusion and cultural representation on the runway. His personal narrative — including his search for his biological roots and his public reflections on identity — became closely intertwined with his creative vision.

Puig bets on fashion to drive next phase of growth

At Rabanne, Rousteing is expected to build on that experience to further elevate the brand’s fashion profile, while maintaining its strong fragrance-driven commercial foundation. Industry observers note that Puig has increasingly focused on strengthening the fashion arms of its portfolio, positioning design leadership as a key driver of brand equity and long-term growth.

The appointment is also seen within the context of Puig’s recent performance, with the group reporting 4.79 billion euros in revenue in 2024 and surpassing 5 billion euros in 2025, underscoring the continued importance of fragrance-led brands while signalling ambitions to expand their fashion footprint.

The creative change follows a management reshuffle already in place: Jean-Jacques Guével arrived as general manager of the fashion business in September 2025, and Renaud de Lesquen became president of Rabanne One Brand, running both fashion and beauty, in April 2026.

Rousteing’s first collection for Rabanne will debut at Paris Fashion Week in March 2027, where it will be closely watched as a first indication of how he intends to translate his Balmain-era playbook into a new maison.

This article was partially prepared and written by AI. Quotes are from the official press release. The article was updated after publication: the PFW date was added

The white glove auction, held in collaboration with Maurice Auction, totalled 1,385,020 euros including fees. The boots, exhibited at Margiela's first museum show at the Palais Galliera, surpassed the previous Margiela record of 101,400 euros, set in January 2025 by an early ensemble.

The top lots traced Margiela's years at his eponymous Maison. A sweater constructed from grey cotton socks, which the designer made himself during lockdown after a design from his early-1990s collections, fetched 117,000 euros. An artisanal prototype jacket from the spring/summer 1993 "Noir et Blanc" collection, assembled from old theatre costumes, made 31,200 euros, while Margiela's own working coat, the "Blouse Blanche" worn between 1988 and 2008, reached 41,000 euros.

Works on paper performed strongly, a reflection of their scarcity: Margiela has rarely released original sketches, historically preferring photocopies and facsimiles. His "First Dossier" of 1987, the manifesto that laid the visual groundwork for the future Maison, drew fierce competition from museums, collectors and archivists before selling for 24,700 euros. A set of five hair and makeup sketches made 19,500 euros, as did a series of Marina Faust backstage photographs from spring/summer 2006.

The final section paid tribute to Margiela's late mother, Lea Bouchet, comprising her wardrobe of Hermès pieces from the designer's tenure at the French house, notably the largest section of the sale, and nearly all of its clothing. An "Initials" bag in dark brown Barenia calfskin sold for 44,200 euros, a cotton trench worn over a kid fur coat made 45,500 euros, and a pair of grey cashmere "porté par deux" coats fetched 19,500 euros.

The auction house said it will return in September with a single-owner sale and its next menswear auction, both in London.

The Paris Good Fashion, a French non-profit action tank aiming to accelerate the adoption of circular fashion practices, has announced the launch of the Fashion Cities Coalition (FCC) during the second edition of its annual two-day seminar event, Midsummer Camp.

The FCC brings together eight capitals: Paris; Milan; Singapore; Dubai; Copenhagen; New York; London; and Cotonou (Benin). They are united around a common idea: coalition as a new method of international cooperation. Through the speeches of the founding cities' representatives present at the event, FashionUnited revisits the ambitions of this unprecedented coordination.

A women-led group of representatives were on hand at the event to explain the project. They included:

• Ting-Ting Zhang, general director of the Singapore Fashion Council

• Sara Kozłowski, senior vice president of the Council of Fashion Designers of America (CFDA)

• Federica Marchionni, chief executive officer of the Global Fashion Agenda

• Florence Bulté, director of sustainable development at the Chaloub group

• Mina Bishop, senior manager of circular economy at KPMG

• Carole Collet, professor of design for a sustainable future at Central Saint Martins and director of Maison/0 (LVMH – Central Saint Martins)

And Sylvie Ebel, president, and Isabelle Lefort, co-founder and executive director of Paris Good Fashion, who initiated the project.

In her introductory speech at the launch of the FCC, a non-commercial and pre-competitive movement, Lefort explains: “This idea came about ten months ago. Many things are happening in the various fashion ecosystems around the world, but they are not always shared. The objective is to remove the silos between these ecosystems”.

“The United Arab Emirates has committed to Net Zero 2050 and hosted COP28,” notes Bulté. “For us, joining the Fashion Cities Coalition is a natural extension of this national momentum. We have been working with international brands for over 70 years and now wish to extend this partnership approach to the entire ecosystem.”

FCC is not a new charter, but a reproducible working method

“Since 2010, the CFDA has been building its sustainability strategy by opening up access to knowledge, innovation and partnerships. Today, our network includes over 350 designers, 90 percent of whom are SMEs, and our Sustainability Resource Hub offers them over 900 resources,” recalls Kozłowski. “I am convinced that we can accomplish nothing alone. This international cooperation is a fantastic opportunity to accelerate the industry's transition together.”

“Around 80 percent of the world's clothing is made in Asia. It is essential that the voice of Asian manufacturers is fully represented in this global mission,” mentions Zhang. “For the next five to ten years, our three priorities are sustainability, technology and Asian growth. Singapore wants to serve as a bridge between the major fashion capitals and Asia's manufacturing countries.”

Concrete actions: an international library and local workshops

Following a pilot workshop in Paris on June 5, 2026, the first wave of the FCC will run from 2026 to 2028. The two pillars of the project are:

– The creation of an international library of best practices. It will compile pilot projects, studies, feedback and methodologies.

– The organisation of a workshop in each city, bringing together the entire value chain. Each city must identify its main challenge and organise its own workshop approximately every eight weeks, though the format is not yet defined. They will work collectively to produce concrete actions. A final collective presentation is scheduled for Paris in February 2028.

“London has an extraordinary heritage and a formidable capacity for innovation,” says Collet. “With Maison/0, developed with LVMH, we want to go beyond the circular economy to make design a lever for regenerating ecosystems.”

A common methodology to transform best practices into actions

“KPMG will collect all these ideas and create a common methodology and approach. The workshops will be systematically deployed across the different ecosystems so that after one year, we have concrete actions to share,” indicates Bishop. “The idea is to create a ‘snowball’ effect. We are launching a movement, and then another city will arrive with its own project. Together, we will grow in knowledge and motivation.”

“Our mission is to accelerate the transformation of the fashion industry towards a more sustainable model,” adds Marchionni. “To achieve this, we must produce concrete results. I like this pragmatic and scientific approach, because without a scientific basis, we will not be credible.”

The conclusion comes from Sylvie Ebel, president of Paris Good Fashion, who was quoted in the press release: “For years, the major fashion institutions have advanced in parallel, each at its own pace. The Fashion Cities Coalition aligns them around a single, shared and verifiable method. We are not adding yet another commitment; we are building a mechanism that transforms proven practices into action, city by city.”

Beyond the eight founding cities, the FCC is supported by several major players in the fashion ecosystem. These include Chanel; LVMH; Kering; the Institut Français de la Mode (IFM); the Fédération de la Haute Couture et de la Mode (FHCM); Première Vision; Lectra; CIRC; Eyes on Talents; and ANDAM. The cities mentioned are only a first step. Discussions have already begun with Tokyo, Seoul, Mumbai, São Paulo, Dhaka and Berlin.

Supply chain software startup Auger, co-founded by former Amazon CEO worldwide consumer Dave Clark, has closed a $50 million Series B, pushing its total funding to $150 million. Eclipse led the round, joined by returning investor Oak HC/FT.

“More and more enterprises are reaching the same conclusion: autonomy is their future. And almost no one can actually deliver on that promise. We raised now to move faster toward where our customers are already headed,” Clark announced on his LinkedIn on July 9. GeekWire broke the news.

“This round accelerates the build: the new products our customers are asking for, and more sales and solutions engineers next to the enterprises that want them. We are reinventing the operating systems of the physical economy. If you are up for that challenge come check us out, we are hiring,” Clark said.

Clark built his reputation over 23 years at Amazon, where he oversaw the company's global delivery operations, and later spent about a year running freight forwarder Flexport. He started Auger in late 2024, roughly two years after leaving Amazon.

Auger's mission

On its website, Auger says its mission is "to build a future where execution is autonomous and operators are superhuman." Rather than functioning as another dashboard or alert system, its platform plugs into a company's existing ERP, warehouse, transportation and demand-planning tools, then lets AI agents make routine operational calls on their own, flagging only exceptions for a human to review. Microsoft's Azure underpins the product, and Auger holds status as a supply chain partner within Microsoft Fabric.

Fanatics, Kimberly-Clark and Meta's Reality Labs unit are named customers, with roughly eight to ten additional companies working through pilots or contract talks. According to GeekWire, Auger aims to generate more than $1 billion in revenue by 2030.

Madrid – Following the outstanding success of its latest 2026 edition, the Loewe Foundation has announced the opening of the application phase for a particularly special and commemorative tenth edition of its international craft prize. The Loewe Foundation Craft Prize is now accepting applications. The award will be presented in spring 2027 from a yet-to-be-announced location and country, which will be in Europe.

According to the Spanish fashion house and its foundation, which acts as a patron and sponsor for various cultural projects, the call for entries for the tenth edition of the Loewe Foundation Craft Prize is now open. This international craft prize for 2027 is open for applications until October 15, 2026, for any interested party who meets the competition's requirements.

Regarding the main entry requirements, the Loewe Foundation states that the award is open to applications from any artisan over 18 years of age. Applicants must submit one or more original works, made partially or entirely by hand. Once the applications are accepted, a panel of experts will analyse the pieces and collectively select a group of 30 finalist works. These selected pieces will then be exhibited in spring 2027 at the chosen venue for this year's edition. Loewe has already confirmed that the location will be in Europe. This decision seems to be a measure to avoid the travel and transport issues encountered during the last edition in 2026. The call for entries was affected by complexities arising from the ongoing crisis in the Middle East, which made it difficult to reach Singapore, the chosen location for the exhibition and the 2026 awards ceremony.

A prize of 50,000 euros

From the 30 pre-selected pieces that will feature in next year's exhibition, the prize jury will be responsible for choosing up to two special mentions, each awarded 5,000 euros, and the winner of the commemorative tenth Loewe Foundation Craft Prize 2027. Following Loewe's traditional timeline, the award will be presented on the eve of the finalist exhibition's public opening. The deserving winner will receive a prize of 50,000 euros. It has been noted that this year's jury will include artist Ibrahim Mahama; Jongjin Park, winner of the 2026 Loewe Foundation Craft Prize; and Loewe's new creative directors, Jack McCollough and Lazaro Hernandez. Although they participated as jury members in the last edition in 2026, the designers will now become permanent members.

“It is a real pleasure and a source of pride to open the call for entries for the tenth edition of the Loewe Foundation Craft Prize,” announced Sheila Loewe, president of the Loewe Foundation, in a statement shared by the fashion house's management. “Over the last decade, the Craft Prize has established itself as a platform for a constantly growing community of artists and artisans around the world, giving visibility to works that inspire new ways of understanding craftsmanship and its place in contemporary culture.” She added that from this commitment, “year after year, the prize has demonstrated the infinite possibilities of craftsmanship and its ability to evolve and surprise us.” Therefore, “I look forward with great excitement to discovering the extraordinary ideas, perspectives and works that this edition will bring.”

More than 5,000 annual applications (for now)

Created in 2016 to give visibility and support to innovation, excellence and creativity in craftsmanship, the Loewe Foundation Craft Prize was undoubtedly one of the most significant and far-reaching initiatives launched by the Spanish brand during its brilliant era under the creative direction of Jonathan Anderson. The designer decisively championed this prize, ultimately highlighting the artisanal heritage that Loewe has treasured since its founding in Madrid in 1846 as a collective workshop of artisans.

As a testament to the prize's growing relevance over its nine editions to date—the prize was created in 2016 but the first award was given in 2017—the last edition in 2026 received more than 5,100 applications from 133 countries worldwide. From these submissions, special mentions were awarded to the works presented by Italian goldsmith Graziano Visintin (Italy, 1954) for his piece “Collier (2025)”; and by Spanish industrial designer Álvaro Catalán de Ocón (Spain, 1975) and the Ghanaian collective Baba Tree Master Weavers for their collaborative work “Frafra Tapestry (2024)”. The Korean ceramicist Jongjin Park won the Loewe Foundation Craft Prize 2026.

German sportswear provider Puma SE has filled another key position. On Monday, the company announced the appointment of Marcia Dos Santos as vice president BU Core. This follows a structural reform where Puma introduced separate teams for its Sportstyle and Core Business Units (BU). The Sportstyle division has been led by Laurent Fricker since the beginning of June.

Dos Santos will take up her newly created position on July 15, according to a statement. She will report directly to chief brand officer Maria Valdes, as will Fricker. Her new employer states that she has “more than 20 years of experience in the sports industry”. Most recently, she worked for US industry giant Nike as vice president merchandising women’s EMEA.

Maria Valdes explained the reasons for the appointment. “Throughout her career, Marcia has achieved strong business results across various regions and product categories, demonstrating her outstanding skills in go-to-market and merchandising,” she explained in a statement. “With her profound industry experience, impressive track record in sales and ability to build successful teams, she is the right person to further advance Core, a central pillar of our business.”

Researchers at the National Institute of Standards and Technology (NIST) have developed a candidate textile material that can be tested by laboratories to validate and improve methods for recognising and classifying textiles, which could potentially reduce manufacturers’ costs.

Known as Research Grade Test Material (RGTM) 10279, the textiles for feedstock identification feature a set of five fabric squares all made from different fibres, both dyed and undyed. These reference squares can then be used by the recycling and sorting community to improve methods for identifying the fibres in textiles to help ensure that textiles are efficiently sorted, increase recycling and repurposing, while also reducing waste and disposal costs.

Amanda Forster, materials research engineer at NIST, said in a statement: “This textile material will help validate sorting methods and make textile sorters’ measurements comparable from one centre to another.

“This lays the foundation for expanding supply chains and increasing the recovery of the economic value from textiles and clothing in the US.”

NIST states that while more than half of all clothing and other textiles are suitable for recycling, most of them aren’t repurposed. The high volume of donated clothing and the slow, labour-intensive process of manually sorting fabrics means they aren’t always reintroduced into the domestic supply chain to make new products. It hopes that this new candidate textile material will help better identify and sort textiles and fabrics.

The next step for NIST is to see how its reference material works in the real world and is asking the recycling and sorting community to use RGTM to explore whether it is suitable for assessing the accuracy of sorting methods and to help validate the algorithms that identify the fibres in textiles and clothing.

Textile sorting facilities can also explore how the RGTM can be useful for production quality control, especially as many new types of textiles are blends of different fibres that are hard to identify.

“This material also provides a way to detect things that aren’t reported on the label, which is important for recycling,” added Forster.

NIST also believes that RGTM could be useful before a piece of clothing is designed, to verify the composition of the fabrics, ensuring that brands are receiving the exact materials they paid for, as well as potentially being used to check whether luxury goods are fake.

“We’ve identified an industrywide measurement challenge,” said Michelle Seitz, researcher at NIST. “Standards like this RGTM help improve textile identification and sorting, which supports advances in AI-enabled sorting of textiles and US manufacturing and industry.”

London-based menswear designer Bianca Saunders has unveiled a collaboration with the independent, multidisciplinary creative company The Midnight Club for her spring/summer 2027 collection.

Saunders has worked with The Midnight Club on the concept and design of the collection, titled ‘Meet You Before Sunrise,’ exploring the “transitional space between night and day, structure and fluidity”.

The move marks Saunders first collaboration with a creative company and coincides with The Midnight Club’s 10th anniversary, signalling an evolution of the studio’s creative offering, as it expands its focus “to more alternative, agnostic creative solutions, helping partners deliver exceptional impact and find their cultural edge”.

The 30-piece collection showcases classic tailoring through a sculptural lens “to capture the tension between daytime structure and the looser rhythms of the night,” with two pieces launching today, July 13, on the designer’s website, ahead of the full collection launch in January 2027.

Commenting on the collection, Saunders said in a statement: “Meet You Before Sunrise explores the transitional moments where identities shift and merge. I was interested in shadows as a record of movement, the traces the body leaves behind as it moves through the city at night.

“Throughout the collection, silhouettes overlap, distort and bleed into one another to create garments that feel in motion. Jackets merge into shirts, layers cast shadows across the body, and tailoring follows natural lines while subtly extending them through illusion.”

When discussing the unconventional collaboration, Saunders added: “After hearing the story of The Midnight Club, duality felt like the natural lens through which to build this collection. It's a theme that runs consistently through my work – the tension between opposing forces and what happens in the space between them.

“This is my first collaboration with a creative company specifically. I hope it says something about the value of taking time to understand a partner before making something with them and that creativity and commerce don’t have to be in opposition.”

The Midnight Club, which has produced creative campaigns for brands, including Adidas, Netflix, Mercedes-Benz, Arsenal, Dr. Martens and Heron Preston, have also created the promotional material for the collection.

Madrid – Pronovias is continuing to lay the foundations for its next chapter under the ownership of British investment group Cap Capital, announcing the appointment of Alejandro Santos as its new marketing director. This appointment follows the official announcement almost a month ago of Luis Müller Heiberg as the company's new chief financial officer, the first addition to Cap Capital's 'new Pronovias'.

The company was awarded to Cap Capital in early June, following judicial authorisation for the sale at the end of May. While the foundations for this new chapter were outlined, it was noted that the new Strategic Plan for Pronovias will not be presented in detail until September 8. Cap Capital is using the interim period to assemble the new team that will lead the iconic Spanish bridalwear firm. In mid-June, the company announced the appointment of economist Luis Müller Heiberg as its new chief financial officer. Now, in mid-July, it has hired Spanish consultant Alejandro Santos as the new marketing director.

As confirmed by Pronovias, in his new position Santos will lead the brand's new global marketing and communications strategy. He will be tasked with reinforcing the “notoriety and desirability” of the bridalwear firm and its collections. He will also build a “more direct and personal” relationship with brides and “evolve” the bridal experience offered to its potential client community through personalisation, inspiration and artificial intelligence. AI is set to play a decisive and principal role in this new chapter for Pronovias, a point previously made by Cap Capital in early June and now emphasised by the new marketing director.

“Pronovias has something that very few brands in the world can say,” which is that it remains focused on “pampering and accompanying a woman in one of the most important moments of her life.” Regarding this task, “my two great challenges concern the brand and the experience,” stated Alejandro Santos, new marketing director of Pronovias, in a statement shared by the bridalwear firm on his appointment. To address the first challenge, he continued, the focus will be on “strengthening and building a brand that knows how to listen, accompany and inspire the future bride with closeness and authenticity.” This goal will be supported by an elevated “experientiality,” which will be achieved through “a personalised and memorable experience worthy of a moment as unique and iconic as a wedding.” He added that “artificial intelligence will play a key role” as a differentiating element that the firm will be able to capitalise on to “personalise and surprise the bride,” while “we will understand and decode what she needs to make her dream come true, always from emotion, the brand and the experience.”

From LVMH to Bimani, via Pandora

A professional with over 15 years of experience in marketing and brand building, Alejandro Santos had previously worked for companies such as L’Oréal and the Italian Angelini Industries before joining the LVMH group in 2017. He held various positions of responsibility at the French multinational luxury holding company between June 2017 and June 2023, always within Moët Hennessy, its wines and spirits division. After just over six years, he moved to Pandora, where he served as marketing director for Spain and Portugal until January 2025.

After his time at the popular Danish jewellery firm, Santos launched his own strategic marketing consultancy, “AS Studio”. From this office, he has provided advisory services to various companies in the fashion, beauty, retail and hospitality sectors. His clients included Bimani, the fashion brand of entrepreneur and influencer Laura Corsini, where Santos served as marketing and communications director between March and September 2025.

“Alejandro's appointment comes at a strategic moment for Pronovias,” the company stated, “as the company moves towards a model where every physical and digital touchpoint must better respond to the expectations, desires and emotions of each bride.” The intention is that “the objective is clear,” which is to ensure “that the Pronovias experience does not begin or end with the dress, but accompanies the woman throughout the entire process of decision-making, preparation and celebration” of the wedding. In this context, they added, “his arrival represents the incorporation of a profile with solid international experience and a deep understanding of how to build brands with cultural relevance, emotional connection and long-term value.”

The R|Elan Circular Design Challenge (RCDC), an Indian platform championing circular innovation in fashion and textiles, successfully concluded its United Kingdom jury round in the UK capital. The event brought together globally respected leaders from fashion, sustainability, design and innovation to evaluate a cohort of pioneering circular fashion entrepreneurs. The initiative reflects a growing global momentum towards accelerating circularity and responsible innovation across the fashion ecosystem.

The UK jury comprised a line-up of industry leaders, including Matthew Needham, creative director of Matthew Needham and senior lecturer at Central Saint Martins; Shailja Dubé from the Institute of Positive Fashion, British Council; Muchaneta Ten Napel, founder and chief executive officer of Shape Innovate; Sevra Davis, director of architecture, design and fashion at the British Council; and Radhika Kaul Batra, chief of staff at the United Nations Resident Coordinator's Office, India. Together, the jury represented a distinguished cross-section of experts driving meaningful transformation across the global fashion ecosystem.

This year’s UK semi-finalists showcased a diverse range of design solutions that reimagined fashion through the lens of circularity, material innovation and responsible production. Dorota Bojanowska, founder of Polish brand Dorota Bojanowska, uses screen printing as a tool to give a new life to vintage textiles and garments. Tyler Greenston, founder of Tyler Von Greenston, presented a collection combining zero-waste design principles with sculptural craftsmanship. Farouk Braimoh, founder of RWRK Studio, showcased his commitment to rethinking textile waste from other industries into contemporary fashion, while Heather Martin, founder of Mono Studio, demonstrated a thoughtful approach to responsible design through modular pattern making and production choices. Porscha Hill, founder of Bad Habits, transformed pre-existing garments and textile waste into genderless collections.

Following a comprehensive evaluation, the jury selected RWRK Studio by Braimoh as the United Kingdom Finalist of the eighth edition of the challenge, which is held in partnership with the UN in India and Lakme Fashion Week. As the competition expands its international footprint, the event marks a significant milestone in fostering global collaboration between innovators, industry experts and sustainability advocates. The diverse perspectives of the panel ensured a holistic evaluation of innovations that balance creativity, commercial viability and measurable environmental impact.

Braimoh commented on the achievement: “We're absolutely thrilled to be moving on to the global finals of the Circular Design Challenge. Winning the UK Jury Round is an incredible honour, especially considering the exceptional level of talent and innovation we witnessed throughout the competition. This recognition is a meaningful validation of RWRK Studio's vision and our commitment to circular design.”

Rakesh Bali, senior vice president of petchem at Reliance Industries Limited, added: “The R|Elan™ Circular Design Challenge, now in its eighth season, stands as our enduring promise to that philosophy—offering young designers the rare combination of mentorship, visibility, and the material innovation to turn circular ideals into tangible craft. As we bring this movement to the global stage through the India–France Year of Innovation 2026, we are honoring two great design traditions while demonstrating that creativity, united with sustainable purpose, can move markets and mindsets.”

Jaspreet Chandok, group vice president at Reliance Brands Limited, noted that the panel showcased the incredible depth of creativity and entrepreneurial thinking emerging from one of the world's leading fashion markets. Davis also expressed pride in the partnership, stating that the UK finalists demonstrate exciting perspectives, thinking and innovation in the future of circular design, positive social and environmental impact as well as scalability.

The R|Elan Circular Design Challenge 2026 will continue its global journey with the Asia Pacific jury on July 24, 2026 and the India jury on July 28, 2026. The regional finalists will then advance to the Grand Jury at the United Nations Headquarters in New Delhi before presenting their work at the finale showcase at the French Embassy in India during Lakmé Fashion Week x FDCI in October, where the winner and runner-up will be announced.

H&M has announced its return to London Fashion Week in September, promising to “shake things up” with a new partnership with renowned photographer Nick Knight and ShowStudio. The brand wants to rethink the fashion show experience.

“Our 2025 London Fashion Week event was a defining moment for the brand, so we are excited to be returning to the schedule to shake things up again. Nick Knight is a true pioneer: a legend when it comes to the democratisation of fashion. Together, we are united in our prioritisation of self-expression, human connection and creative innovation. It’s a joy to be working together," Ann-Sofie Johansson, creative advisor and head of design womenswear at H&M, said in a statement.

Considered a groundbreaking artist by critics, Knight has partnered with multiple designers during his career, including Yohji Yamamoto, John Galliano, and Alexander McQueen, and created advertising campaigns for Christian Dior, Tom Ford, Lancôme, Swarovski, and Yves Saint Laurent, among others. He also notably directed Lady Gaga’s “Born This Way” music video in 2013 and is a longtime collaborator of Björk. In 2016, Knight was chosen to photograph then-Prince Charles with Queen Elizabeth II to mark the end of the monarch's 90th birthday year.

“I believe that for fashion to be relevant, it needs to constantly change and push creative boundaries, and I’m excited that H&M share that vision. Together, we will be exploring fresh ways of showing and democratising fashion, and asking questions of what a runway show can be,” Knight said.

H&M presented its winter/fall 2025 collection in London last September at 180 The Strand, betting on the mix of music, style, and celebrity star power. The show, directed by Kennedy with creative consultancy by Katie Grand, featured a live performance by Lola Young, with Romeo Beckham, Sora Choi, Alex Consani, Paloma Elsesser, Amelia Gray, Iris Law and Lila Moss walking the runway.

The next edition of London Fashion Week will run from September 17 to 21.

"The Strait of Hormuz is a vital maritime corridor for world trade," stated the United States Central Command (CENTCOM) in a press release. The command stressed that "Iran does not control it" and that US forces remain deployed and prepared to "ensure that freedom of navigation continues to be available for commercial shipping."

This is the latest official update from the US government regarding one of the world's primary logistics corridors. This key infrastructure for international trade is also highly relevant to the fashion industry. Since the military offensive began in the region, maritime traffic through the strait has been reduced to a fraction of its usual capacity. The threat level continues to be considered severe. This situation is forcing shipping companies, logistics operators and businesses to rethink their routes and supply chains.

The figures reflect the extent of this disruption. According to the most recent estimates from Windward Maritime Intelligence, on July 11, only 21 commercial vessels passed through the strait, compared to the nearly 140 daily transits recorded before the conflict broke out. Other sources report different figures, although all agree on a very sharp drop in traffic. This discrepancy is largely due to the difficulty of monitoring real activity in the area. A growing number of vessels are crossing as dark vessels, with the AIS automatic identification system disconnected to reduce the risk of becoming a target. Added to this is the constant interference with GNSS satellite navigation systems, which further complicates the tracking of maritime traffic.

Iran maintains a completely different version

The Persian Gulf Strait Authority, an organisation controlled by Tehran, has stated that recent movements by US forces, which it deems illegal, are currently preventing navigation through the strait. The Iranian authority stated that transit requests will be reviewed once the situation normalises and will be processed in order of priority. This follows the Revolutionary Guard's announcement that it was closing the passage until further notice. The Guard also attacked two commercial vessels for allegedly violating navigation rules imposed by Iran.

For this reason, the United Kingdom Maritime Trade Operations, a leading global authority on commercial shipping safety, and the United States Naval Forces Central Command (NAVCENT) continue to consider the strait as international waters. Both organisations maintain the security threat level in the severe category, the second highest level in the classification.

Despite this, the United States Central Command insisted on Sunday that the strait remains open to all vessels wishing to transit legally. It reiterated that Iran does not control this waterway, despite recent attacks on commercial vessels. President Donald Trump later repeated this message in an interview with NBC.

The origin of the dispute lies in the interpretation of the Islamabad Memorandum of Understanding, signed last month as part of the ceasefire. The agreement establishes that Iran must allow toll-free passage for commercial vessels for at least 60 days while peace negotiations advance. It also requires Iran to open talks with Oman to define the future administration model for the Strait of Hormuz.

The current escalation was triggered on July 11, when the Iranian Revolutionary Guard attacked and set fire to a Cyprus-flagged container ship passing through the strait. After that episode, Tehran again declared the waterway closed and the United States responded with an air offensive against around 140 Iranian military targets.

Tension continues to rise. During Monday morning, the Revolutionary Guard launched a retaliatory operation against US military bases located in Jordan, Bahrain and Kuwait. Jordan claimed to have intercepted four missiles, while Kuwait reported that it was neutralising several hostile air targets. For its part, Bahrain activated emergency sirens and urged the population to remain sheltered.

Nordstrom Inc. has announced editor Brooke Bobb as its next vice president and fashion director. Bobb, who previously worked as fashion news director at Harper's Bazaar in New York City, will cover all fashion categories of the American department store chain, reporting to chief merchandising officer Jamie Nordstrom.

The former editor will be in charge of collaborating with merchant leaders, partnering with brands, attending global fashion events, supporting key industry moments and serving as a fashion and trend media spokesperson on behalf of the company. She will also oversee the organization's seasonal fashion direction across physical stores, online, and in marketing.

Bobb has worked at Vogue, The New York Times Style Magazine, Elle Magazine, and The Huffington Post. She will officially join Nordstrom in August, succeeding Rickie De Sole, who left the company last spring.

“We're thrilled to welcome Brooke to Nordstrom. Brooke has a strong combination of editorial credibility and commercial instinct. She understands how people discover and engage with style today, and how to translate that into something meaningful for our business. We believe her vision will elevate how we show up for our customers, our brand partners, and our teams," Jamie Nordstrom said in a statement.

Bobb is joining Nordstrom during an exciting year for the company, which is celebrating its 125th birthday this year.

During the protest, workers will ask North Face customers to sign letters to store managers and emails to corporate leadership, asking VF Corporation to cease its partnership with Movement.

"This direct action comes in reaction to news that VF Corporation, the parent company of The North Face, had entered into a corporate partnership with Movement Climbing Gyms to host upcoming events and rock climbing competitions at Movement locations. The North Face and its parent company, which pride themselves on their commitment to human rights and the rights of workers, had committed to the partnership with Movement despite the latter’s track record of mistreating workers at its gyms across the United States. Prior to the arrangement, Movement had already faced multiple unfair labor practices charges before the National Labor Relations Board (NLRB) and had been the subject of several national news stories detailing the allegations of abuse at the hands of the venture capital-backed chain," the statement reads.

Workers United's president Lynne Fox said he has sent a letter to the CEO of VF Corporation and the global brand president of The North Face, asking for a meeting with corporate leaders behind the The North Face brand ahead of the protest. According to the organization's statement, a summit has yet to be scheduled.

The North Face stores affected by the rally

The 10 North Face locations being affected by the rally include: 605 N. Michigan Avenue at Chicago, IL; 511 Fifth Avenue, New York, NY; 95 5th Avenue, New York, NY; 102 N. 6th Street, Brooklyn, NY; 2000 Route 38, Space 1775, Cherry Hill, NJ; 160 North Gulph Road, Space 2104, King of Prussia, PA; 7911 Tysons Corner Center, Space F0003AU, Tysons, VA; 1000 Premium Outlets Drive, Tannersville, PA; 100 Citadel Drive, Space 717, Commerce, CA; and 1238 Fifth Street, Berkeley, CA. The protests are scheduled for Monday at 12pm local Time.

Movement is North America's largest indoor climbing, yoga, and fitness operator. In May, attorneys representing unionized workers filed a series of Unfair Labor Practice (ULP) charges against the company before the National Labor Relations Board (NLRB). The company had already faced multiple ULPs alleging violations of federal labor law at facilities in different states across the country.

Climbing Workers United is a campaign of coaches, instructors, routesetters, and customer experience workers in climbing gyms across the U.S. organized by Workers United.

FashionUnited has reached out to The North Face for comments.

Pas Normal Studios (French for ‘not normal’) is a Danish cycling brand focused on ambitious cyclists. With its minimalist design, it is currently one of the most sought-after brands in the segment. The brand is currently opening stores from Munich to Beijing and collaborating with established brands like the hyped outdoor brand Salomon. Its origins, however, actually lie in fashion.

Behind Pas Normal Studios is Karl-Oskar Olsen, who co-founded the Danish menswear brand Wood Wood in 2002. Before launching the cycling brand with CEO Peter Lange, he used the name as a slogan on Wood Wood T-shirts. This was an allusion to a quote from professional cyclist Lance Armstrong, who used it to shift the focus onto his competitors during the doping debate. The design evolved into its own brand and success story.

Despite jersey prices starting at 160 euros, the brand is aiming for double-digit growth. Lange explains how this is being achieved and the strategy behind it in the interview.

Your latest collaboration with Salomon goes beyond cycling. Does the bicycle remain the focus, or will you become a broader sports and lifestyle brand?

Cycling is and remains our main focus. A collaboration like the one with Salomon is good for reaching new consumers within cycling who may also be active in other sports. We know that many runners ride bikes to give their bodies some variety during intensive training.

So you are focusing on the versatility of cyclists and less on covering other sports.

Running sportswear is interesting for us because it's very close to our DNA. In modern cycling, it's also common to do strength training once or twice a week to strengthen the neck and the lower back. Participants in a cycling race do not show up in a T-shirt and jeans; they wear sportswear. Running apparel and sportswear styles are therefore closely connected to the ambitions of cyclists.

What is the scope of the off-bike segment in your range?

We expand our off-bike segment very cautiously, adding a few styles year over year, because it's not our focus. We concentrate more on aesthetics and performance in cycling, which accounts for 80 percent of our business.

Within training, there are also fewer gradations. We can do more specialised winter styles or styles for very hot summers. Since we have a strong presence in the Asia-Pacific region, we naturally need more summer styles and lighter jackets.

And for other products like running shoes, do you rely on collaboration partners?

Exactly! There are many other brands with more expertise in developing something for dedicated runners – in shoes, but also in specialised split shorts and everything that is very sport-specific in other categories.

Are there any other collaborations coming up that you can reveal details about?

There's one more coming with Salomon in autumn, which will close out the three-year collaboration for now. Next year we'll start a new collaboration, which unfortunately I can't say anything about yet.

Do your collaborations always run over a longer period, or can they also be short-term projects?

It's a mix. A three-year collaboration isn't always in the cards. Sometimes it's a shorter partnership that works for a special event or activity, for example. We're not that locked into our collaboration strategy in terms of timing and drops. What matters more is: do we see a brand fit, and do we see added value for our consumers?

Sportswear is currently performing better than other categories. Do you see this in your own range – with athletic versus fashion-led pieces?

No, that's very difficult for us to see, because off-bike styles only account for between 15 and 20 percent of our revenue. It's very difficult to segment growth across the different collections, as they follow one another.

From conversations with retailers in that segment – some of whom ask for products – we know that it's difficult for them. It's difficult in cycling, too, though. But we're doing well.

What does that mean for the financial year?

Our goal is double-digit growth. We are currently on track, so we expect to achieve it.

With cycling jerseys starting at 160 euros, you are in a higher price segment. How do you justify this price to your customers?

We chose this price point because we want to offer our consumers quality – in terms of fit, but also the material as well as the durability and sustainability of the materials. And that comes at a price. We have a very loyal customer base.

We target dedicated cyclists, and they place great value on aesthetics and performance. They want something that fits well and doesn't fade after three or four washes, because it's fully dyed. We do a lot of testing and work intensively with sample sizing to make sure we have a quality product.

Do you also benefit from the growing road cycling trend, where even beginners are impeccably styled?

We can see consumers moving in that direction. Our aesthetic has an everyday appeal, and we naturally also try to match the contemporary look.

If you go back a few years, cycling clothing consisted mainly of team jerseys. It was black, with garish colors, lots of logos, and made from cheaper material. The fit was such that the jersey would slip down at the back as soon as you put something in the rear pocket.

Cyclists today pay more attention to looking good – not in a fashionable way, but in a stylish, sporty way. Many running brands have taken this approach for years. Cycling, however, is newer in this approach than other sportswear categories.

Which styles are particularly popular with your community?

It changes every season. But our color world is rather down to earth and a little inspired by Scandinavian and Japanese minimalism.

Then there are also pieces in the collection where we use bigger logos – that looks more like a team set, like the Pro Tour. And of course we have limited collections within our collections, like TKO, in which Karl [ed. note: Karl-Oskar Olsen], my partner and creative director, explores creativity on another level and brings it into the collections. It's simply different needs for different purposes.

Do you see differences between regions?

The markets in Northern Europe, including Germany, are very similar – as is Europe as a whole, really. In the US, on the other hand, people like a bit more performance color and logo presence. And in Asia, they love limited editions. Things that are out of the ordinary and much more colorful.

Are these also your core markets?

Yes, our core markets are Northern Europe, the US and China.

How is turnover distributed across the markets?

40 percent of turnover comes from Europe, 40 percent from the Asia-Pacific region and 20 percent from North America.

You also operate your own stores in all regions. Do you plan to expand your retail network further?

Yes, we just opened a store in Beijing and are already present in Singapore, Shanghai, Copenhagen, Munich, Mallorca and San Francisco.

There are many different ideas in the works, but we haven't decided which city is next. That depends on what's coming in 2027/28. At the moment, only franchise stores in the focus market China are on the table, and they could come within three months.

What about in Europe or the US?

Definitely, but we don't want to open our own stores by default. We like to work with local retail partners if they are strong and meet our requirements. Then we don't need a flagship store.

However, if there's a location like Munich, where we couldn't find a partner and there was great potential, then we open our own store. So over time, we'll look at whether we need to invest in a market to develop it further. And then we either find a partner or do it ourselves.

Your own stores are more than just points of sale, serving as starting points for ride-outs, among other things. What is at the heart of the concept?

Most stores are strongly community-based. A store like the one in Mallorca is naturally much more community-oriented than our stores in Copenhagen. The one in Beijing is located more centrally, where there's more foot traffic.

It depends on what is needed locally. Is the focus on the community because we need to reach consumers and develop the cycling trend? Or is it more about the commercial side, meaning we need a location with high footfall? We decide that when we target a market.

What role does the actual sales process still play at the physical locations?

I firmly believe that brick-and-mortar retail is important. It is a balance. People can touch and feel the brand, interact with our sales staff and get closer to the brand. It gives you the opportunity to really open up to your own consumers. You can't do that by focusing only on online retail or a pop-up event. The retail stores are an investment in our consumers. For pure brand awareness, we also do pop-ups.

Navigating an increasingly uncertain climate, for Resort 27, designers prioritized investment dressing with timeless pieces like classic, Chanel-style bouclé suits. Aside from a few playfully youthful sweaters, the collections focused on versatility. Pieces ranged from preppy plaids to splashy print dresses all crafted to transition into summer and offer consumers multi-season longevity. Here are the top trends for Resort 27 in fabric, print and pattern.

Channeling Chanel

Derived from the French word for "curled," bouclé is crafted from uniquely looped wool yarn, offering a softer texture than tweed. Thanks to its year-round versatility, the bouclé suit has become an investment staple fit for any season.

Carolina Herrera Resort 27 by Wes Gordon

A fuchsia, pink, and orange bouclé jacket with cascading fabric fringe along the center front opening and sleeve cuffs, and a matching straight skirt.

Etro Resort 27

A pink, tan, and cream multicolored single-breasted bouclé jacket over a cardigan and bra, and a matching high-waisted pencil skirt with a side slit

Anna Sui Resort 27

A textured multi-pastel bouclé cropped jacket with a pink faux-fur collar and a matching knee-length pencil skirt with cutouts at both the hem of the jacket and skirt.

Knitting Patterns

For Resort 27, designers are leveraging knitwear to target a new Y2K demographic known as "kidults." Fueled by childhood nostalgia, these young consumers eagerly embrace playful graphic sweaters featuring whimsical faces and animal motifs.

Coach Resort 27 by Stuart Vevers

A maroon crewneck sweater featuring a black and white sequined patch of ‘Felix the Cat’ styled with a yellow tulle maxi skirt featuring horizontal ruffled layers.

Ganni Resort 27 by Ditte Reffstrup

A charcoal grey crew-neck knit sweater featuring a graphic bear motif and Ganni logo across the chest, layered over a golden-yellow satin dress with a collar and detailed with a ruffled lace hem.

Tanya Taylor Resort 27

A grey crewneck sweater featuring a zebra intarsia knit pattern wrapping asymmetrically across the front, paired with a pastel pink midi skirt trimmed with pink ostrich feathers.

Picture This

Designers used garments as canvases for Resort 27 showing landscapes and sea views in bright or pastel colors.

Alémais Resort 27 by Lesleigh Jermanus

A strappy white satin dress featuring a vibrant, painterly landscape print down the front, highlighting lush green fields, yellow flowers, and a coastal sea view.

Chanel Resort 27 by Matthieu Blazy

An oversized multi-colored knit polo shirt depicting a beach, sunset and waves displaying CHANEL alongside BIARRITZ stitched across the bottom. Shown with a flowing, vertical red-and-white striped maxi skirt with a heavy fringe of textured straw-like tulle layers.

DSquared2 Resort 27 by Dean Caten & Dan Caten

A strappy micro mini dress with a coastal landscape graphic featuring the deep blue of the Mediterranean sea with a broad yellow lace hem and red lace trim.

Check Mates

Checked and plaid fabrics hold diverse meanings depending on how they are styled. For Resort 27, designers embraced these classic patterns to deliver a distinctly preppy aesthetic.

6397 Resort 27 by Lizzie Owens

A long-sleeved button-down shirt with a pointed collar and cuffs in a taupe and brown plaid with a midi-length wrap skirt featuring a twisted, gathered knot detail at the waist that created a draped front and a frayed hemline.

Staud Resort 27 by Sarah Staudinger

A midi-length slip dress in purple under a button-up shirt in a patchwork of contrasting plaid prints, including purple, yellow, and blue-green tartans.

Sandy Liang Resort 27

A boxy, high-neck technical zip-up jacket and a distinctive draped flap detail across the front and a high-waisted, structured matching pleated micro-mini skirt featuring the same yarn-dyed pink and tan plaid pattern.

A Bigger Splash

Big splashy abstract prints in bright colors, looked fresh and modern rendered on a variety of garments.

Diesel Resort 27 by Glenn Martens

An abstract-print cardigan over two printed tees, paired with a midi skirt with an abstract, blurred print in orange, yellow, and black tones and a printed silk neck scarf.

Victoria Beckham Resort 27

A halter neck maxi length bias-cut silk dress in a bold abstract graphic print in a palette of peach, deep green, burgundy, brown and blue.

Zimmermann Resort 27

A silk dress with a high, gathered neck, a dropped elastic waist and a flowing maxi skirt in large, sharp-angled color blocks of navy blue, golden yellow, chocolate brown and pops of rusty red.

The Return of the Wild

With animal prints back in demand, designers are getting more creative by mixing and distorting them with new colors and patterns. For Resort 27, the silhouettes stayed close to the body, channeling a 1970s disco-era sensibility.

Sally LaPointe Resort 27

A dress with a high-neck collar, fitted bodice, long sleeves, and an asymmetric side slit in a textured leopard/animal abstraction print.

David Koma Resort 27

A floor-length dress with a black sweetheart bodice paired with a body-skimming column rendered in an iridescent, sequined python print.

Roberto Cavalli Resort 27 by Fausto Puglisi

A high halter neck form-fitting catsuit with flared legs in an abstract zebra stripe motif in natural tones of white, beige, and deep brown.

Craft Work

The Resort 27 collections showcased tactile, handcrafted fashion toward an artisanal aesthetic featuring fine embroidery, unique structural finishes, and natural motifs.

Alémais Resort 27 by Lesleigh Jermanus

A mustard-yellow floor-length, mock turtle-neck dress accented by heavily textured, organic hand-embellished placements of multicolored beads and trailing threadwork.

Chanel Resort 27 by Matthieu Blazy

A top with coral and black floral lace placements accented by red and pink marabou trim on the pockets and a matching knee-length skirt.

Carolina Herrera Resort 27 by Wes Gordon

A sleeveless column dress of sheer black tulle mesh decorated with floral micro-embroidery. The bodice is covered in golden-yellow blossoms, changing at the waist to a wisteria-purple color.

Financial crises, pandemics, geopolitical turmoil – for Marco Götz, a state of emergency is the norm. The Drykorn founder is correspondingly calm when looking back on a first half-year that saw the Kitzingen-based label suffer a significant loss in menswear due to the Wormland insolvency.

In an interview with FashionUnited, Götz discusses growing international markets, the shift in tailoring and the new dual leadership with co-CEO Marino Edelmann.

Mr Götz, how was the first half of the year for Drykorn?

It was stable. We experienced a major insolvency with one of our clients, Wormland. This created some imbalance in the menswear division and made things more challenging. We have since compensated for this and will continue to improve through expansion into international markets. In womenswear, we are still seeing good growth.

Which markets are you focusing on?

We are currently most active in Central Europe. Two years ago, we added Spain and Greece, which are developing very positively. Overall, everything in the resort and holiday locations is performing extremely well – Mallorca; Ibiza; the Spanish coast; and also the ski resorts.

Why are these holiday regions developing so well?

We are observing different purchasing behaviour there. In these resort locations, it is all about ready-to-wear. Customers can wear it immediately; it is not bought to be stored.

The high-fashion part of the collection is not automatically sold alongside it. It is more about customers having forgotten something for their holiday or looking for something that suits the weather.

Which pieces are currently selling well at Drykorn?

Trousers and knitwear continue to perform well, in both womenswear and menswear. In tailoring, we are currently undergoing a transformation for men. We no longer have a slim-fit suit in the collection and are moving towards 'loose' and relaxed styles. It will take some time for this to become truly commercial, however.

What topics are currently on the minds of your retail partners?

Delivery dates are a classic issue. When do you deliver what? We have been dealing with this for 25 years and there is always room for improvement because we are constantly reacting to information from previous seasons. Added to this are different weather conditions and geopolitical factors, which lead to a certain price sensitivity.

The issues are not really different from previous years, but things have not become worse either. There are always a few points of discussion that become sticking points. Considering what is happening in the world, the situation is actually stable.

Do you see this way of dealing with the crisis mood as a bit of a 'new normal'?

For me, the 'new normal' began 30 years ago when I started in the industry. It was challenging even then and everyone said: “Do something else, just don't go into this industry.” In the meantime, we have had everything from 9/11 and the financial crisis to Brexit, Trump, Covid-19 and the war in Ukraine. There is always something.

Normality is that something unforeseen always happens. There are many different influences that repeatedly make the situation challenging, but that is precisely what is normal. Perhaps there is a brief phase where nothing happens, but it usually does not last long.

Marino Edelmann has been co-CEO at Drykorn since June. How did this decision come about?

I had been considering this for a long time because my areas of responsibility had simply become too diverse. Ten years ago, the structure was clearer: there was product; sales; HR; and production. Now, areas such as technology and corporate development have been added, and marketing was not even a topic for us in the past. Sales has also become much more varied.

Previously, there was a clear path: managing channels through wholesale. Today, we have our own stores, which we will continue to push; e-commerce, which we are expanding; and various concession models, all of which are different.

Are you planning to expand the management team further in the long term?

For now, it is stable as it is. We are well-positioned for our size. The question now is more about what the new goals are and what new approaches we can take.

What are they?

We have not seized many opportunities – including in terms of sales, international markets and expansion – because we lacked the manpower.

You just mentioned your own stores. The new store in Düsseldorf recently opened. What is the strategy for this area?

We have a store concept that we will also roll out in other cities. It always has to be the right opportunity. Simply opening a shop for the sake of opening a shop makes no sense. We open a store with the intention of making money from it – we will not open a store purely as a brand ambassador.

We are working on several other locations and are in good discussions in a number of cities, but it really has to be the right fit.

A few years ago, you also tested the international waters with a pop-up in Zurich.

That was really just an opportunity because a client wanted to implement it together with us. It is very important to us to do things together with our partners. We have enquiries from abroad – from Switzerland, Austria and the Netherlands. There are interesting possibilities there, and anything can happen.

Finally, how do you plan to close the year?

We are planning for growth and will hopefully be close to double-digit growth. It is also possible that it will remain in the single digits. Under conditions where you are not necessarily going full throttle, that would be fine.

The market, especially wholesale, is very shaky. Many retailers are struggling but are now finding their footing again. What is needed now is the courage to take a new or different step. That is why we are not going into next year with total euphoria, but we will definitely generate growth.

Source Fashion has wrapped what was its largest edition to date following a change in location to Excel London, where the fair could adopt a significantly expanded format to house global manufacturers, UK suppliers and fashion buyers.

New Sri Lanka and Jordan pavilions confirmed for January 2027

The three-day event brought together 305 exhibitors from 19 countries, while organisers reported increased footfall and a 20 percent rise in high-value buyers, those with purchasing responsibility exceeding 250,000 pounds. Attendees included buying teams from Next, John Lewis, Debenhams Group, Asda, Matalan, Tesco, Reiss, River Island, TK Maxx, Harvey Nichols, Fred Perry, Hackett, Moss Bros, Never Fully Dressed, Omnes, Bluebella, Percival Menswear and Perry Ellis, among others.

The relocation to Excel enabled the introduction of new features, including the first Vietnamese Pavilion, an expanded British Pavilion and a broader international exhibitor mix spanning Europe, Asia, Africa and the Americas. Organisers said the larger footprint will support further growth, with new pavilions from Sri Lanka and Jordan already confirmed for January 2027, alongside an expanded textiles offering and continued collaboration with the UN Women's programme in Egypt.

Buyer shift towards long-term strategies

Buyer activity over the three days reflected a shift towards long-term sourcing strategies rather than transactional purchasing. Discussions focused on traceability, supply chain resilience, durability, flexible production models and nearshoring, with brands also exploring ways to balance cost pressures with sustainability and regulatory requirements.

Speaking to organisers, Victor Vala, sustainability representative at Harvey Nichols, said: "At Harvey Nichols we set a high benchmark for the brands we work with, looking closely at traceability, quality and value. Source Fashion gives us the opportunity to discover new manufacturers, innovative materials and emerging brands that are bringing fresh thinking to the industry.

“Sustainability is never a finished job, so it's important to keep exploring new ideas and new partnerships. What stands out here is the quality of the conversations. You have the time to really understand a brand, ask the right questions and build meaningful relationships."

UK manufacturing boost

One of the key themes throughout the event was the growing interest in UK manufacturing. Live features including The Factory by ApparelTasker showcased garment production in real time, while Fashion Deconstructed hosted workshops on repair, textile innovation and circular design. ApparelTasker said it generated more than 200 leads during the show, while several British manufacturers reported strong engagement from both domestic and international buyers.

Charlotte Morley, operations director at Elizabeth Scarlett, noted: "One of the real strengths of Source Fashion is that it combines supplier discovery with genuinely valuable industry insight. Alongside meeting manufacturers, the content programme gives buyers the opportunity to better understand the realities of sourcing, manufacturing and the challenges facing the industry."

The content programme addressed issues including ESG reporting, AI, circularity, minimum order quantities, durability and British manufacturing, with discussions increasingly centred on implementation rather than ambition. In a panel on sourcing strategy, Nick Reed, founder of Neem London, said: “Find a maker that believes in your business and wants to grow with you. If they believe in what you're building, they'll support you through those early stages, and that's how long-term partnerships are created.”

January 2027 to host expanded textiles offer and increased accessories and footwear

Reflecting on the event, Suzanne Ellingham, event director of Source Fashion, said this latest edition marked an important milestone for the fair, which has grown to become a “global platform where manufacturers from around the world connect with buyers who are looking for resilient, responsible and commercially successful sourcing partners”.

Looking ahead, Ellingham said the move to a new venue “has given us the space and confidence to continue evolving the show”. As a result, Source Fashion will return to Excel London from 19 to 21 January 2027, with organisers planning an expanded textiles offer, new international pavilions and increased opportunities for UK manufacturers and suppliers in categories including accessories and footwear.

She added: "As more people within the buying community discover Source Fashion, they're asking for more from us, and I’m committed to building a platform that reflects how the industry is changing while continuing to support its future growth."

Fashion titan Shein has won approval from China's market watchdog for its initial public offering application in Hong Kong, the China Securities Regulatory Commission said in a statement on Friday.

Shein's plan to sell up to 341.6 million shares and list on the Hong Kong stock exchange is approved, the CSRC said.

Plans to list the company in New York and London had been held back in recent years by regulatory hurdles, according to media reports.

A vast selection of products at stunningly low prices has boosted the popularity of Shein, along with China's Temu and AliExpress, bringing them into the same league as Amazon in the US.

Founded in 2012 by Chinese-born entrepreneur Xu Yangtian, Shein moved to Singapore in 2021 and sells trendy clothes in more than 150 countries.

With most of its factories located in China, Shein sets itself apart from its so-called fast fashion competitors through the speed at which it designs products and a highly efficient supply and production chain.

Xu pledged to allocate greater resources to the southern Chinese province of Guangdong earlier this year, seeking to leverage the efficiency of the local garment supply chain and the international logistics network.

He said at the time that the Chinese Communist Party and the provincial government had given crucial support to Shein.

Shein's platform exports exceeded 100 billion yuan (14.5 billion dollars) in 2025.

'Selective reopening'

Beijing's approval signifies that "China is still supporting Hong Kong as a major offshore capital raising platform", Kelvin Lam, a China-focused economist at Pantheon Macroeconomics, told AFP.

The US regulatory ban on Shein's listing bid in New York, which cited supply chain issues, reflected the geopolitical risks involved in listing abroad, Lam said, adding that the company also "has been undergoing a lot of problems with listing" in the UK.

With the approval, China "removes a long-time and major political uncertainty for Shein," Han Lin, China director for consultancy firm The Asia Group, told AFP.

"Beijing is signaling selective reopening, not deregulation -- rewarding companies that strengthen China's economy while remaining aligned with national security and regulatory priorities," he added.

The online platform has been scrutinised over its environmental footprint and allegations of human rights violations for years, but its executive chairman told AFP last year that the company has "zero tolerance" on forced labour.

Shein also drew criticism last year in France over the discovery of childlike sex dolls on its platform.

In June, French authorities imposed two fines on Shein totalling more than 22 million euros (25.1 million dollars), citing problems with product traceability, environmental labelling and delivery times.

Denim brand Wrangler has launched a new next-gen denim fabric, Toughlite, designed to be lighter in weight but just as sturdy and durable as its heavier denim.

Developed in-house, Toughlite is made from a 99 percent cotton and 1 percent elastane blend, and weighs up to 20 percent less than traditional 14.75oz heavyweight denim. Offering "made-to-move comfort," the denim is flexible and does not require any break-in time, according to Wrangler.

"Wrangler has always stood for durability you can trust," said Holly Wheeler, vice president of global brand marketing at Kontoor Brands, parent company of Wrangler, in a statement. "With Toughlite, we pushed ourselves further, engineering a fabric that's up to 20 percent lighter, has enhanced airflow, and is incredibly flexible, while not sacrificing durability. It's innovation you can feel immediately, without giving up the authenticity that defines Wrangler."

Toughlite debuted in Wrangler's best-selling 13MWZ Original Fit and 936 Slim Fit Cowboy Cut styles and is available in four classic washes, including rinse and stone. The collection retains the brand's signature five-pocket styling, relaxed seat and thigh, and over-the-boot fit. The new denim launched on July 9 online at Wrangler.com and at select retailers across the United States, priced at 69.99 US dollars.

The Toughlite launch comes as lightweight denim continues to gain momentum, with more consumers seeking light, comfortable and breathable jeans that can be worn year-round. The global light denim market is currently valued at between 7.5 billion and 11.5 billion US dollars, according to data from Dataintelo, while the wider denim jeans market is projected to reach 164 billion US dollars by 2034, according to Fortune Business Insights.

Lightweight denim, usually defined as weighing 10oz or less, is the fastest-growing segment within the denim category, expanding at a CAGR of 8.5 percent, according to SNS Insider.

Asos has launched Arrange Bespoke, a new collaboration series designed to bring emerging creative talent into its elevated occasionwear label Arrange.

The initiative debuted during Paris Haute Couture Week with a hand-crafted dress created by Central Saint Martins student Johannes Warnke. Developed alongside the Arrange design team, the piece combines production remnants and off-cuts with the brand’s naturally dyed peace silk, highlighting a focus on reuse, construction and craftsmanship.

The collaboration offers a preview of the creative direction behind future Arrange collections, with further partnerships planned to showcase emerging designers and their approaches to fashion.

In a statement, Vanessa Spence, EVP brand and creative at Asos, said: “Arrange Bespoke gives us an opportunity to celebrate fashion in its most expressive form while offering a glimpse into the creative thinking behind Arrange.”

She added that the series will help “spotlight the next generation of designers” while showcasing the craftsmanship and storytelling behind the product.

Warnke said the design was inspired by movement, light and the streets of Paris, explaining: “It all started by intuitively re-collaging repurposed off cuts, playing with different sequin sizes and shapes to create rhythmic compositions that flow across the body.”

Madrid – At a time of particular significance for Inditex, and especially for its leading fashion chain Zara, the Spanish company has just announced the departure of veteran executive Beatriz Padín. A key figure within the group for the past 40 years, Padín has spent the last 25 as the director of its primary business line: the Zara womenswear division.

Inditex's management announced the news in a statement sent to the National Securities Market Commission (CNMV). Beatriz Padín has decided to end her professional career with the Inditex group, consequently stepping down from all her responsibilities at both Zara and Inditex. For the past 25 years, she has been the director of the Zara Womenswear division, the highest-grossing division of the group's main fashion chain.

From a broader perspective, she also held a position on the Spanish fashion multinational's Management Committee. This committee was established as part of the organisational restructuring process initiated by the Board of Directors on November 29, 2021. It was designed to support the chief executive officer of Inditex, a role held by Óscar García Maceiras since that same month.

Following her departure, the management of Zara Womenswear will be taken over by Alfredo Ferro Varela. Since 2013, Varela has been the director of “Zara Basic”, one of the three main verticals within the Zara Womenswear division. Inditex expressed its confidence in his ability to succeed in the role, highlighting his more than 30 years of experience within the group, during which he has held various positions of responsibility at both Zara and other company chains.

Regarding this change in leadership at Zara Womenswear, Inditex's management praised the expertise of its former executive. “Inditex’s Management wishes to highlight the great contribution of Beatriz Padín to the company over more than four decades,” the group's management stated. They added that during these years, she “has undertaken tasks of great importance, including the direction of Zara Womenswear for the last 25 years, and has contributed very significantly to the performance and evolution of Zara”. She is credited with promoting some of the chain's most impactful initiatives in recent years, such as the creation of the “El Apartamento” de Zara spaces and the launch of its resale and upcycling platform, “Zara Pre-Owned”.

Management committee reduced from ten to nine positions

Padín, who is married to Francisco Galán, director of the equally strategic area of in-store technology, has been part of the Inditex Management Committee since its inception. Following her departure, the Spanish fashion multinational has restructured this body, eliminating one position and reducing it to a total of only nine members. Consequently, Alfredo Ferro Varela will not be joining the committee, which Inditex describes as a forum for “collective decision-making in executive management, based on a cross-cutting vision of the entire business” of the group.

Consequently, following the elimination of this position, the Inditex Management Committee, after Beatriz Padín's departure, will now consist of: Miguel Díaz Miranda, chief financial and operating officer of Zara; Ignacio Fernández Fernández, corporate general manager; Antonio Flórez de la Fuente, director of Bershka; Javier García Torralbo, director of digital; Begoña López-Cano Ibarreche, general manager of people; Jorge Pérez Marcote, director of Massimo Dutti and brother-in-law of Amancio Ortega and uncle of Marta Ortega Pérez; Óscar Pérez Marcote, director of Zara and also brother-in-law and uncle of the founder and current chairwoman of Inditex; Andrés Sánchez Iglesias, chief financial officer of Inditex; and Jordi Triquell Valls, director of Stradivarius.

Manchester Fashion Week has unveiled its biggest programme to date for September 9 to 12, alongside the launch of C.T.E.M. Fashion Collective, a new non-profit initiative designed to create year-round opportunities for emerging designers, students and young creatives.

The expanded event will take place across multiple venues in Manchester's St. John's district, featuring runway shows, exhibitions and industry talks. Highlights include the return of Malon Fashion, IGC Fashion showcasing Ugandan design talent, and speaker sessions with Katharine Hamnett CBE and Lynne Franks OBE.

The launch of C.T.E.M. (Culture, Technology, Education and Manufacturing) marks the event's biggest strategic development, extending Manchester Fashion Week beyond its annual schedule. The organisation will work with schools, universities and youth groups to support skills development, sustainability and careers in fashion.

Projects already underway include workshops with more than 270 pupils across nine Co-op Academy schools and the Future Threads programme, where young people will create a runway collection from reclaimed materials under the guidance of The Great British Sewing Bee winner Luke-Matthew Iveson.

In a statement, executive producer Gemma Gratton said: "Manchester Fashion Week is the city's platform to celebrate creativity, culture and the future of fashion. But for us, the runway is only part of the story. Through C.T.E.M. Fashion Collective, we're creating opportunities throughout the year by connecting young people, education, industry and communities across Greater Manchester."

She added: "By the time September arrives, hundreds of young people will have already experienced Manchester Fashion Week before the first model steps onto the runway. That's how we ensure Fashion Week doesn't just showcase our city, it grows with it."

John Higginson, CEO of Eco Age and a non-executive director of C.T.E.M., said the initiative provides "a genuine model for what the fashion industry can become when it invests in communities, education and future talent", adding that it transforms the event's ambitions into "meaningful, measurable impact".

Make it British is bringing back its trade show Make it British Live! in January 2027, following a seven-year absence. The two-day event will take place in London on 12 and 13 January 2027, with the venue and further details set to be announced in August.

The event aims to reconnect brands, designers and buyers with manufacturers across the UK supply chain. Businesses involved in garment production, textiles, trims, machinery, accessories and printing will be among those exhibiting, with the goal of providing a platform for companies looking to source and produce fashion in the UK.

Founded by Kate Hills, Make it British Live! originally launched in 2014 as Meet the Manufacturer before adopting its current name in 2018. Previous editions attracted more than 18,000 visitors before the pandemic forced the cancellation of its planned 2020 return.

Hills said the decision to revive the event reflects renewed momentum around UK production, but also a need for greater collaboration across the industry.

“Over the past year I’ve visited as many UK fashion and textile manufacturers as possible, and what I’ve discovered is that there is so much innovation and enthusiasm for making in the UK, but that the industry is still fragmented,” she said. “Bringing the whole supply chain together in one event is how we fixed that before, and it’s why the show is coming back.”

The relaunch comes amid increased focus on domestic manufacturing, with the local fashion sector facing ongoing discussions around investment, skills and supply chain resilience.

Alongside the trade show, Make it British supports UK production through podcasts, industry newsletters and the British Brand Accelerator programme, which helps emerging brands develop local manufacturing partnerships.

The Fashion and Textile Museum in London has announced its next exhibition will celebrate Ossie Clark and Celia Birtwell, who became known as one of the most influential creative and romantic partnerships of ‘Swinging London’ in the 1960s and early 1970s.

The ‘Ossie Clark and Celia Birtwell’ exhibition will run from October 2, 2026, to April 27, 2027, and showcase an “intoxicating world of slinky, bias-cut dresses, ethereal flounces of chiffon, astonishing tailoring, slim hipped flares and fitted python skin jackets”.

Clark and Birtwell dominated the London fashion scene from 1965 to 1974, becoming hugely influential in fashion and celebrity circles for fusing Clark’s expertise in tailoring and garment cutting, especially in bias cut and fluid silhouettes, with Birtwell’s whimsical textile design and playful prints, ranging from delicate florals to intricate paisleys, and stylised botanical prints.

The exhibition will feature more than 120 garments drawn from a private collection seen alongside items loaned by Birtwell, exploring the couple's heyday working together as textile designer and designer, as well as also looking beyond to their independent careers post 1974, “allowing audiences for the first time to unravel their separate talents”.

At the heart of Clark and Birtwell’s professional partnership were the outfits they designed for the West London boutique, Quorum, with key pieces including early works such as the mail-order ‘Paper’ dress, featuring Celia’s Art Deco influenced design of orange and green flowers and the ‘Bakst’ dress of 1967 with its circles in purple and red, inspired by Leon Bakst’s costumes for the Ballet Russe and the work of abstract painter, Sonia Delaunay.

Other looks highlight Clark’s training at the Royal College of Art and his skills in tailoring and work with chiffon, such as the powder blue Ziggy Stardust dress inspired by the 1930s, which is a spiralling corkscrew of chiffon cut on the straight grain and wound around the body, while Birtwell’s illustrative print features black birds and splashes of golden flowers.

Tailored items that will be on display include the 1968 Lamborghini jacket, a long satin jacket worn with trousers in Birtwell’s Chinoiserie-style print of black, red and cream which mixes geometrics with florals. This suit was worn by models, celebrities and it-girls from Twiggy to Rolling Stone, Bill Wyman. Other trouser suits for women, such as a tailored black-and-red crepe trouser suit embroidered with strawberries and modelled by Jean Shrimpton, will be shown alongside ruffled and frilled chiffon shirts as worn by Brian Jones.

London’s Fashion and Textile Museum to spotlight Ossie Clark and Celia Birtwell

The exhibition will then progress into how Clark and Birtwell’s designs built a bridge between the linear dolly-bird mini of the early 1960s to the later more sophisticated and flowing designs of the late 1960s and early 1970s, which encapsulate the Bohemian freedom of the era, full of movement and sexuality.

A key feature of the exhibition will be the important outfits worn by the couple themselves, such as Birtwell’s wedding dress, the Ophelia dress, which combined two of her prints, 'Floating Daisy' and 'Lollipop'. The garment demonstrates just how radical Clark’s designs were, as the lightweight, ethereal, voluminous dress is made almost entirely of chiffon with a silhouette that resembles a kaftan, while Birtwell’s romantic print offsets the more sensual aspect of a dress that is also very revealing.

The exhibition will continue upstairs with an exploration of Clark and Birtwell’s work after they split up and their partnership with Quorum had ended. Highlights include Clark’s work in jersey, including his dresses and jumpsuits, alongside Birtwell’s later works, such as items from her sell-out collaboration with Topshop in 2006.

Dennis Nothdruft, head of exhibitions at the Fashion and Textile Museum, London, said in a statement: “The contribution of Ossie Clark and Celia Birtwell helped define the London look of the late 1960s and early 1970s.

“Clark's contributions to fashion, his skilful cutting and innate understanding of the human form, may not have had the recognition of other designers of the era, whose businesses had longevity. We hope this exhibition, which features a large collection of their work, will help to redress the balance.”

The Fashion and Textile Museum is the only museum in the UK dedicated to showcasing contemporary fashion and textile design. Founded in 2003 by British fashion legend Dame Zandra Rhodes, the Bermondsey Village-based museum is operated by Newham College, London, one of Europe’s largest further education colleges.

Previous exhibitions have highlighted work by Orla Kiely, Anna Sui, Biba’s Barbara Hulanicki, and Kaffe Fassett, as well as showcasing costumes from film and television shows, celebrating textiles with deep historical connection to mankind, and the fashion inspired by 80s London.

New York-born fashion label Rodebjer has announced the return of founder Carin Rodebjer as creative director, alongside plans to expand its presence in the UK as part of a broader international growth strategy.

The move marks a new chapter for the brand, with the autumn/winter 2026 collection introducing renewed creative direction, while the spring/summer 2027 collection revisits archive designs through updated silhouettes, nature-inspired prints and the return of the swallow motif, which has been reintroduced as a new house icon symbolising renewal.

Alongside the creative relaunch, Rodebjer has appointed Somewhere Agency to support wholesale growth in the UK and strengthen its presence across international markets from the SS27 season.

The company said the latest developments represent "an exciting new phase" for the business, combining its heritage with "renewed creative leadership" and a stronger focus on future growth.

Swiss sportswear company On Holding AG (On) is restructuring its global sales organisation and appointing two new executives. The company announced on Wednesday that the existing commercial leadership will be divided into two roles, effective September 2026.

Rebecca Cai will assume the newly created position of chief global markets officer on September 1. The current general manager for the Asia-Pacific (APAC) region will be responsible for market operations in APAC; Europe, Middle East and Africa (EMEA); and the Americas, as well as the global sales teams. She will continue in her current role until a successor is appointed.

With Cai, the group is promoting talent from within its own ranks. The manager has been with On for six years. During her tenure as general manager for APAC, the company's business in the region grew sixfold, according to the announcement.

New chief customer officer

Alice Delahunt will also join the company as chief customer officer on September seven. Based in New York, she will oversee the direct-to-consumer (D2C) business across digital and retail, as well as customer engagement.

Delahunt has previously held senior positions at luxury fashion houses Ralph Lauren and Burberry. She also served on the supervisory board of Berlin-based online retailer Zalando and founded the digital fashion platform Syky.

“We are delighted to announce these two exciting leadership appointments, which underscore our commitment to keeping the consumer at the heart of everything we do,” said Scott Maguire, president and COO at On. “As we scale our business and deliver a ‘wow’ experience to our fans worldwide, this new leadership structure will enable greater focus and alignment.”

As part of the reorganisation, chief commercial officer Britt Olsen will leave the company at the end of September 2026. She has been with On for a total of 11 years and most recently led the global sales organisation.

“It was a bold and liberating decision to join all those years ago, and an equally bold and liberating decision to step down last autumn – the same feelings, just in different contexts,” the outgoing CCO stated on the professional networking site Linkedin. “We have been preparing for this transition for many months. I am incredibly proud of the team we have built – both new and old members – and confident that they will successfully continue the mission.”

Tom Tailor improved its profitability and extended its financing in the 2025 financial year. The Hamburg-based clothing company achieved a turnover of 582 million euros in the period, just below the previous year's result, according to a statement released on Thursday. In 2024, the company generated revenue of 588 million euros.

Adjusted earnings before interest, taxes, depreciation and amortisation (EBITDA) improved by 38 percent year-over-year to 52.2 million euros in 2025. The gross profit margin improved from 56 to 58.2 percent. These positive developments are primarily due to improved merchandise purchasing management and consistent cost management, according to the statement. Direct sales performed at the previous year's level, as they did in 2024. The company's own stores achieved like-for-like growth of 3 percent. This was mainly possible due to the strong performance in Austria and Southeast Europe.

“2025 was another challenging year for our industry. It is therefore all the more important that we have consistently focused on the areas that we can influence ourselves,” said Gernot Lenz, CEO of Tom Tailor. “The development of profitability shows that we have made further progress in the evolution of our business model.”

Financing extended until 2028

In addition, Tom Tailor announced that it was able to complete its refinancing at the end of 2025 and extend the term until the end of 2028, with renewed support from its shareholder Fosun International Ltd. Last month, the state-guaranteed Covid-19 loan of 100 million euros was also repaid as planned.

For 2026, the company continues to expect challenging market conditions. It will continue on its current course, focusing “unchanged on sustainable profitability, operational excellence and the further strengthening of the brand”.

A fire in a warehouse in Zlin, Czech Republic, destroyed 70,000 pairs of shoes on Thursday. The warehouse is located on the site of the former Bata shoe manufacturing empire. The company Vasky, which manufactured the shoes, reported its losses at seven million dollars.

No one was injured, firefighters confirmed. They added that the fire was still out of control on Thursday afternoon and the building continued to collapse.

“We have lost almost everything and we are facing the most difficult challenge in Vasky's history. It hurts,” Vasky founder, Vaclav Stanek, responded on Facebook.

He estimated the value of the destroyed shoes and clothing at the site to be approximately seven million dollars.

Stanek founded Vasky in 2016 to continue the shoemaking tradition in Zlin, which was started by Tomas Bata. Bata established his shoe factory in the city in 1894.

After his death in 1932, Bata's company was taken over by his half-brother, Jan Antonin Bata. He fled Nazi-occupied Czechoslovakia in 1939 and later settled in Brazil. There, he grew the business into a global shoe empire.

The Bata factory in Zlin was nationalised and renamed Svit after the communists took power and established a planned economy in Czechoslovakia in 1948. It closed following the 1989 Revolution, which overthrew the communist regime. This occurred four years before Czechoslovakia peacefully split into the Czech Republic and Slovakia.

The site was later renovated to house regional government offices and a museum.

Stanek stated that Vasky, which also produces shoes in neighbouring Slovakia, would continue manufacturing despite the loss.

“We lost what we made, not why we make it. We still have the people, the know-how and the will to start over,” Stanek added.

Paris - A French court on Thursday provisionally banned the Asian e-commerce giant from selling items on its platform that feature the famous Lacoste crocodile logo.

Pending a final ruling, the Paris judicial court “has taken provisional measures throughout the European Union”. The aim is to “prevent infringement of Lacoste’s renowned trademarks resulting from the sale of clothing, jewellery and fashion accessories on the Shein platform”.

The judge “found a likelihood of counterfeit by imitation” and “a clear risk of confusion for consumers”, according to the statement presenting the court's decision.

It also “awarded Lacoste a provisional sum of 110,000 euros towards compensation for damages”.

The Paris judicial court also ordered Shein “to publish the decision” on its homepage and applications “for one month to prevent further damage by raising consumer awareness”.

The decision was handed down by the third civil chamber, which specialises in intellectual property. It was made by a “pre-trial judge”, who intervenes during the case’s investigation phase before a final ruling is made.

“In this capacity, they can order various provisional measures” to stop any harm pending a final decision from the court.

Contacted by AFP, Shein France stated that the company intended to respond with a statement in the evening.

A symbol of ultra-fast fashion and its environmental cost, including transport and recycling, Shein is under scrutiny by French authorities.

On Thursday, the government presented a draft decree setting the amount of financial penalties for products from fast fashion companies like Shein. The text proposes a penalty of up to 20 euros per item by 2030, capped at 50 percent of the pre-tax price.

The items concerned include boxers, briefs, socks, shirts, jeans, skirts, dresses, swimwear, coats, jackets, trousers, jumpers, T-shirts and polo shirts sold on Asian platforms such as Shein, Temu and AliExpress.

At the end of June, Parliament definitively passed a bill to curb the rise of fast fashion, epitomised by Shein, with its low-quality clothing at rock-bottom prices that generates mountains of waste.

In mid-June, the Parisian department store BHV announced it was ending its partnership with Shein.

Paris - After a career spent scrupulously avoiding being photographed, Belgian fashion star Martin Margiela auctioned off part of his personal archives on Thursday, fetching over one million euros.

Fans of the 69-year-old pioneer, who retired in 2009, had the opportunity to acquire items ranging from sketches to one of his signature white work coats at a sale in Paris that Margiela personally supervised.

The sale of the 195-piece collection reached 1.39 million euros, with strong representation from buyers from Japan, South Korea and China, according to Maurice Auction, which organised the auction in collaboration with Kerry Taylor Auctions.

A pair of graffiti-covered Tabi boots from 1991 was the most expensive item, selling for 364,000 euros.

The collection also included a prototype of one of the face masks he required models to wear, ensuring focus remained on the clothes. It also featured Barbie dolls used as mannequins and Hermès pieces designed during his tenure as creative director at the French house from 1997 to 2003.

"I felt it was time to part with some of my fashion-related memories," the designer explained before the sale.

"Martin Margiela has no heir and, in a way, by organising this sale, he is settling the question of his succession himself by putting all potentially interested buyers in competition," auctioneer Salome Pirson explained to AFP.

The designer was very rarely photographed and never gave media interviews. He also always refrained from the customary practice, adopted by most of his peers, of taking a bow at the end of a show.

In a rare effort to connect with his admirers, he collaborated on a retrospective of his work presented at the Palais Galliera museum in Paris in 2018.

Indian designers are a growing presence at Paris Haute Couture Week -- "overdue" representation for a country that has long played a role behind the scenes, the latest newcomer, Manish Malhotra, told AFP.

Malhotra, 59, became the fourth Indian designer after Rahul Mishra, Gaurav Gupta and Vaishali S to join the official Paris calendar this week, considered the most elite stage of the global fashion industry.

The best-known European houses from Chanel to Christian Dior have long relied on Indian embroiderers and textile makers for their spectacular one-of-a-kind creations.

But Indian designers are now harnessing home-grown artisans to challenge the Parisian tastemakers in a business that traditionally served royalty, but now caters to celebrities and other global VIPs.

"I think it was long overdue," Malhotra told AFP, a day after presenting an intensely personal collection of highly structured dresses in Paris -- all a tribute to his recently deceased mother.

"India is so culturally rich in terms of texture and textile, architecture, jewels, embroidery. It has such a heritage of kings and queens.

"You know, I think it was high time," he added.

France's Haute Couture and Fashion Federation (FHCM) has been actively diversifying the labels present in Paris, inviting designers from outside Europe and the West.

Malhotra admitted to feeling nervous before his first show on Wednesday, which was entitled "Maa" and reflected Malhotra's deep bond with his mother whom he lost just three months ago.

"There's nothing bigger than Paris Haute Couture. This is the ultimate platform," he said.

While preparing, "I kept coming back to my mother's story, and at one point I said, 'you know what, Paris doesn't know me, and if they are going to know me, they have to know what I'm feeling right now'," he explained.

"And honestly, I'm still very affected by losing her."

The opening outfit was a dramatic full-length coat featuring sculptures of a boy and his mother at different life stages, while another dress featured elaborate cut-outs of a mother and boy on the front who embraced as the model moved.

Born into a middle-class family in Mumbai, Malhotra started out making costumes for Bollywood before moving into couture and bridalwear.

His decision to show in Paris underlines his growing international ambitions, having launched separate jewellery and beauty lines, as well as his first overseas boutique in Dubai in 2023.

He also became a viral sensation after this year's Met Gala having arrived wearing a jacket and cape featuring scuptural and embroidered tributes to Mumbai.

He has also dressed US superstars from Rihanna to Jennifer Lopez.

"After 35 years of working, what's the next challenge for me?" he said.

"Maybe an atelier in Paris, maybe a store in New York?"

Fendi presented its first haute couture show under designer Maria Grazia Chiuri Thursday, showing off a luxurious collection of black and cream looks -- and a tribute to longtime couturier Karl Lagerfeld.

Held in Rome, where Fendi was established in 1925, and attended by celebrities including Monica Bellucci, Jessica Alba and Italian influencer Chiara Ferragni, the show opened with the luxury brand's instantly recognisable black and cream stripes on sheer, diaphanous dresses and tunics.

Reworked swirls and diagonals popped up throughout Chiuri's highly elegant collection, marked by satin and delicate sheer silk, with 1930s Art Deco elements such as silvery graphics making an appearance.

Black fringe swayed from bodices, while velvet on lace collars added an additional note of luxury. Stripes of leather piping adorned shoulders and capes were intricately embroidered, some with fur entwined in the mix.

Under the high white ceilings and marble columns of The National Gallery of Modern and Contemporary Art, guests sipped prosecco and sampled hors d'oeuvres, some fanning themselves with their newly gifted Fendi-labelled raffia fans to battle the July humidity.

With Italy's minister of culture in attendance, the highly anticipated show proved that it wasn't just Milan causing fashion waves.

"Rome is increasingly establishing itself on the international fashion scene as one of the major fashion capitals," Mayor Roberto Gualtieri told AFP, calling Rome-born Chiuri an "extraordinary artist" and "top Roman."

Museum-worthy fashion

The event also included a homage to Lagerfeld, the German legend who for more than 50 years was creative director of the house before his death in 2019, with guests touring a reprise of his famous 1985 museum exhibition with Fendi.

"After steps through work. Fendi/Karl Lagerfeld 1985", which opens Friday to the public and runs through October 25, highlights the myriad creative processes that make up a Fendi fur garment, from original sketches and sample boards to patterns and toiles.

In 1985, the show held at the very same art museum caused a scandal.

"It caused quite a stir. Great art critics praised it, but at the same time, there were those who could not accept fashion entering the world of art, even sparking a parliamentary debate," Silvia Venturini Fendi, the brand's honorary president, told Vogue magazine last year.

The practice of museums collaborating with fashion houses, tapping their archives and presenting their designs, is today widespread, and fashion as a legitimate form of art is now celebrated throughout the world.

The exhibit features a wall of Lagerfeld's sketches from the early 1980s -- some 200 sketches out of a collection of 2,000 -- done in coloured pencil and marker pen, where the designer's penchant for volume, with wide, exaggerated shoulders and hems that flare, is on display.

Showcasing Lagerfeld's "inexhaustible imagination", in the words of the curators, the exhibit sometimes offers up an original sketch together with the final garment.

In one case, a suggestion of swoops drawn in pencil was seen in its final version -- a black and white double-breasted pea coat adorned with dozens of pleats on the arms and collar.

Sample boards show Lagerfeld testing various techniques, colours, and stitching possibilities in fur and leather, with the material manipulated into swirls, patterns or tactile undulations.

Fendi, owned since 2001 by French conglomerate LVMH, hired Chiuri last October, bringing the Roman back to the house where she started her career in accessories under Lagerfeld.

After stints at Valentino and making history as the first woman to creatively head Dior, Chiuri said earlier this year that in returning to Fendi, she wanted to "give back" to those who had inspired her early on -- the Fendi sisters behind the business, as well as her mentor Lagerfeld.

The National Gallery of Modern and Contemporary Art holds the country's largest collection of Italian and international art from the 19th and 20th centuries, including masterpieces by Giorgio de Chirico, Amedeo Modigliani and others.

Paris - Paris haute couture week, which concludes on Thursday, delivered several memorable moments. From a luminous mini-dress to fully reversible pieces and the presence of stars like Bad Bunny and Pedro Pascal, here are five key highlights.

Luminous attire

With its green tones inlaid with fine, luminous branches, Dutch designer Iris Van Herpen presented a sparkling mini-dress.

This surprising look, named Fractal Universe, contained no LEDs or other lighting devices. Instead, it was "charged" in a particle accelerator in the days leading up to the show. This process transformed the dress into an energy reservoir with billions of trapped electrons, the artist explained.

Before the show, the garment began to discharge, and the luminous branches gradually spread across its surface.

"For years, the idea of creating a garment woven purely from energy has appealed to me. We have shaped haute couture from solids, liquids, living matter and even gas. This is the first time we have worked with the fourth state of matter, plasma," she commented on social media.

Botanical inspiration

The two most watched houses of the week, Chanel and Dior, presented collections largely inspired by nature. Their silhouettes were filled with botanical details.

At Chanel, Matthieu Blazy referenced famous tales like "Jack and the Beanstalk" in his looks. These included a dress adorned with embroidered climbing plants and an ensemble covered in black butterflies.

Jonathan Anderson, artistic director at Dior, also included natural motifs in his proposal, such as embroidered flowers on a green pleated look.

"All these botanical allusions are closely linked to Christian Dior's passion for gardens, even back then," explained Pierre Groppo, fashion and lifestyle editor-in-chief of Vanity Fair France, to AFP.

Vice-versa

"Why should a garment remain static? How can we make it more alive? What if each creation contained its own metamorphosis?": Alexis Mabille continues to question the codes of fashion.

On Tuesday, the French designer presented his "Dual" collection, which plays on reversals and inversions.

Heavy black velvet coats or sheaths were instantly transformed into gold or silver dresses. Sometimes, pulling a single thread was enough to switch from right side to wrong side, from shadow to light, with all models being reversible.

Indian tradition

The official haute couture week schedule included two Indian designers, Rahul Mishra and Manish Malhotra, whose proposals generated significant buzz.

Rahul Mishra drew inspiration from the Ajanta Caves, artificial Buddhist caves located in the state of Maharashtra, for his collection. It featured richly adorned sculptural silhouettes in shades of grey.

Manish Malhotra paid tribute to motherhood with dresses featuring relief figures of mothers and children.

These designers bring a vision from elsewhere, explains Pierre Groppo. "They each have worlds that are deeply imbued with their Indian culture."

Bad Bunny, Pedro Pascal...

Many female stars, from rapper Cardi B to actress Cate Blanchett, typically attend haute couture shows. This time, major male names were also spotted in the audience.

Singer Bad Bunny was in the front row at the Schiaparelli show, dressed in a pastel yellow suit and a gold braid-shaped tie.

At the Chanel show, actor Pedro Pascal was seen in a white ensemble and a marinière sweater.

At Dior, Josh O'Connor appeared in a fluid suit from the house, presented in Paris a few days earlier.

"Haute couture is taking an interest in, looking towards men," notes Pierre Groppo, highlighting the previously unusual presence of these figures.

He believes there is perhaps "a desire to also speak to an audience that goes beyond traditional female clients".

Kunstmuseum Den Haag will open the “Future Fashion” exhibition early next year, focusing on the future of fashion. The exhibition will showcase how contemporary designers are addressing challenges like overconsumption, pollution and climate change by experimenting with new materials and production methods.

“Future Fashion” is a collaboration between Kunstmuseum Den Haag and the Barbican in London. It is partly based on the “Dirty Looks” exhibition (2025), curated for the Barbican by fashion curator Karen Van Godtsenhoven. A press release states that together with Madelief Hohé, fashion curator at Kunstmuseum Den Haag, Van Godtsenhoven explores how fashion is used to convey urgency. They also examine the new techniques and imagery that result from this approach.

The fashion exhibition will feature work from renowned names such as Ronald van der Kemp, Duran Lantink, Sjaak Hullekes, Marine Serre, Stella McCartney and Iris van Herpen. It will also draw from the museum's fashion collection to demonstrate how clothing was once treated as a precious and durable material. Altered and repaired garments will serve as examples of what the museum calls “slow fashion avant la lettre”.

“Future Fashion” runs from January 30 to August 15, 2027.

Currently, the museum in The Hague is showing the fashion exhibition Reflections on Fashion, which opened to mark the museum's 75th anniversary.

Parts of this article were written with the help of AI

Madrid – Looking beyond the institutional message with which a particularly presidential Marta Ortega opened Inditex's 2026 Annual General Meeting (AGM), we now delve into the significant issues raised before the Spanish group's investors. During the meeting, as was widely expected, all items on the agenda were approved in their entirety. The ordinary meeting surprisingly saw Inditex's own shop assistants from Galicia take the floor.

The ultimate goal of Inditex's 2026 AGM was to submit the nine points on its agenda to a vote and analysis by its investors. Following an eloquent welcome speech by Marta Ortega, non-executive chairwoman of the board of directors, Javier Monteoliva Díaz took the floor. In his capacity as non-director general secretary of the Inditex board, he addressed the procedural matters required by law and the company's statutes for such meetings. The event was held on Tuesday, July 7, at Inditex's headquarters in Arteixo, A Coruña. Díaz then gave the floor to Óscar García Maceiras, the group's chief executive officer since November 2021.

Maceiras thus directed his fifth Inditex AGM, the same number that Amancio Ortega's daughter has opened and supervised as chairwoman of the board. He dedicated his address to investors to highlighting Inditex's outstanding evolution over its first 25 years as a listed company, a milestone celebrated in 2026. This anniversary follows the 50th anniversary of Zara's founding, which was celebrated last year in 2025. Maceiras noted that this success is underpinned by a “management style marked by high standards and a desire for permanent improvement” that has always prevailed within the company.

He completed his presentation with a general overview of the positive results for the 2025 financial year. He emphasised the main indicators to shareholders, who were to vote on the approval of the 2025 accounts and reports during the meeting, held as scheduled on the first call. Maceiras stressed that these positive results, achieved in a complex environment, were due to the strong commercial performance of the group's brands and efficient operational management by its teams.

“Our purpose remains the same” as it was when the company went public 25 years ago: “to reach millions and millions of people around the world every day,” Maceiras told Inditex shareholders. He added that the goal is to do so “with an increasingly attractive fashion proposition and an ever-improving experience for our customers.” “This purpose has guided us in 2025 to continue on a path of positive growth, despite a complex geopolitical and macroeconomic environment.” This path has been possible thanks to “good commercial performance” and “efficient operational management.” “Why are these figures important?” the Inditex CEO asked shareholders. “Because they demonstrate the financial strength and solidity of our business model, the main guarantees that we will continue to invest whatever is necessary for the group's future sustainable growth.”

Inditex's 10 pillars for future growth

Following these words of confidence to investors, which were backed by various investment plans the company has implemented in recent years, Maceiras guaranteed a sustained commitment to investing in the company's “future.” This includes an exceptional plan to strengthen logistics capabilities with 900 million euros annually for 2024 and 2025, completed last year alongside ordinary annual investments of 1.8 billion euros. He highlighted the ordinary investments of around 2.3 billion euros committed for 2026. These funds will be used to reinforce and advance each of the 10 growth pillars on which Maceiras bases Inditex's immediate future. These pillars encompass various initiatives the company will continue to launch. They aim to advance its growth, customer experience, adoption of new technologies, product design and quality, “emotion,” innovation, efficiency, talent, its commitment to Spain, and its position as a company committed to communities worldwide.

Looking ahead to 2026 and beyond, “we maintain our purpose” of “offering attractive fashion, based on design, quality and produced responsibly,” as well as “the best possible experience for our customers,” Maceiras told Inditex shareholders. In this purpose, “we are ambitious,” and “we will continue to grow, we will continue to innovate, we will become increasingly efficient, and we will have an ever-greater positive impact.” All this will be done while the company and its various portfolio brands remain true to “a strategy of stable and accessible prices for the largest possible number of people.”

1.- Growth and expansion

Briefly elaborating on each pillar, Maceiras reiterated that in terms of growth and expansion, the group's eight chains—Zara, Zara Home, Pull&Bear, Massimo Dutti, Bershka, Stradivarius, Oysho and Lefties—will continue to pursue differentiation strategies. These strategies will allow them to expand their presence in existing markets and enter new regions and countries. He highlighted developments already announced in late 2025 and the first half of 2026. These include the opening of the first Bershka stores in the US and Brazil; the planned arrival of Lefties in France, the UK, and now officially confirmed, Germany; Pull&Bear and Massimo Dutti in Denmark; and Zara Home in Norway.

With these and other strategies to be implemented, “our eight commercial formats continue to increase their differentiation, attract new customers and strengthen the bond we have with our current customers,” Maceiras said during his speech. For Zara, “the group's engine,” Inditex will “continue to increase the chain's retail space” and “will continue to improve our stores with image, technology and in new locations, executing projects in major cities around the world.” Meanwhile, “thanks to our international presence and the experience we have acquired over time, the rest of our commercial formats will continue to execute ambitious growth plans.” He concluded, “we continue to see opportunities for expansion; opportunities that we will seize by following our guiding principle of profitable and selective growth, project by project.”

2.- Customer experience

In response to the growing trend and paradigm shift towards customer experience, the company will continue to promote initiatives aimed at meeting the needs of “increasingly demanding and experience-oriented customers.” This will be achieved through “new services and new functionalities,” as well as the “execution of projects that generate community.” Examples of these initiatives include Zara's “Try-On” virtual fitting room, which Maceiras announced in March will be rolled out to the group's other chains. Other examples are the Bershka MMBRS loyalty club, which currently has over 40 million users in 18 markets, and Oysho Community, which provides access to exclusive sports events and launched a “pro” version for professionals at the end of May.

3.- Latest technologies

As the third pillar, Maceiras presented Inditex's constant commitment to the latest technologies. The Spanish company will focus on innovations that streamline the purchasing process and eliminate friction points. A recent example is a new labelling system introduced in early June. This system allows visually impaired customers to access all product information autonomously via their mobile phones. Maceiras noted that this initiative will be rolled out across all the group's brands and in all markets where they operate.

4.- Design and quality

Contrary to claims made on social media by supposed fashion and business analysts, Inditex is first and foremost a fashion company focused on selling clothes. The multinational directs all its efforts, investments, and strategies towards this purpose. This naturally includes a firm commitment to the design and quality of its product offering. The group's CEO highlighted that the company will “continue to listen to our customers.” It will place the talent of “our more than 700 designers” and the staff of “our pattern-making teams” at their service and at the service of the fashion they demand. The company is also working towards quality fashion with a lower environmental impact. These commitments are being pursued in collaboration with suppliers, research centres, and specialised laboratories “for the analysis and improvement of our products.”

5.- Emotion

The term “emotion,” the desire to “excite,” is becoming a cornerstone of the strategies of major fashion houses and groups, including Inditex. Marta Ortega used the term three times during her welcome message to shareholders. Maceiras confirmed this commitment to the “emotional” by placing it among the main pillars for building Inditex's future. The company aims to continue “exciting” and “surprising” fashion consumers, primarily through new collaboration strategies with relevant figures from the worlds of art, fashion, and culture. At the same time, the CEO of the Spanish company stressed that Inditex remains true to its unwavering principle of offering quality fashion at accessible prices.

“In order to continue exciting and surprising our customers, we will continue to develop projects in collaboration with figures from the world of art and culture.” These alliances, Maceiras noted, “are allowing us to reach an audience and acquire a relevance” as a company “that is unprecedented in the history of our group.” “So far in 2026 alone, we have collaborated with figures such as Willy Chavarria, Aaron Levine and Bad Bunny. Also in March 2026, we announced our collaboration agreement with John Galliano, the first fruit of which will be a collection that we will launch from September, with a timeless fashion proposal.” He added, “logically, all our efforts in relation to design, quality, durability” and “the future collaborations that we will continue to make available to our customers, will remain compatible with a strategy of stable and accessible prices for the largest possible number of people.”

6.- Innovation

Complementing the strategies for implementing new technologies, but as a distinct pillar, is a sustained commitment to innovation. Inditex will use this to shape its future, both physically and digitally. This area includes the adoption of new solutions driven by artificial intelligence, everything related to its online platforms, and innovations in the strategic field of logistics. The latter will be pursued mainly through robotisation and automation projects to improve productivity and competitiveness. These projects are based on the implementation of RFID technology, which is revolutionising Inditex's logistics architecture. They also rely on the adoption of the new “invisible alarm” system, already implemented in over 90 percent of its products. This system “is allowing us to provide our stores with a new technological ecosystem that is radically transforming our processes and operations,” through examples like self-checkout tills or automated processes “that connect our fitting room areas with our warehouses.”

Within Inditex, “innovation is not the result of isolated projects, but the logical consequence of a systematic and permanent process of searching for, analysing and implementing new solutions,” said Óscar García Maceiras. From this perspective, “we will continue to innovate, as we have always done at Inditex,” seeking to “take advantage of any technology at our disposal, but without losing sight of the importance of the human component, as our chairwoman pointed out in her opening speech.”

7.- Efficiency

Advancing efficiency, through better use of resources and raw materials, was also presented as one of the 10 pillars for Inditex's future. The company is shaping this future hand in hand with its suppliers. Together, they are implementing transformation plans to reduce the impact of water and energy use in their facilities. This contributes to a company based on a less polluting and more efficient model, from garment manufacturing to logistics processes, which includes incorporating renewed fleets for which “we are promoting the use of sustainable fuels.”

“We are going to be increasingly efficient,” Maceiras proclaimed to Inditex shareholders. “In a sector like ours, which uses a large number of suppliers and has processes divided across different markets, achieving the levels of efficiency we aspire to requires working in collaboration with our supply chain.” This is already being done “together with our suppliers,” with whom “we are executing a transformation plan that currently has specific action plans for almost 1,000 facilities.” These initiatives will allow Inditex to have “an ever-increasing positive impact” on the environment and on people.

8.- Talent

Continuing with the assertion of people's value as the true engine for Inditex's future growth, as championed by Marta Ortega in her speech, Maceiras also highlighted the talent of Inditex's people as a strategic pillar for its future. He called on the more than 160,000 employees from 174 countries that the company employs globally to continue contributing to this future. The Spanish group will support these professionals through training and development plans in new tools, technologies, leadership, and team management; prioritising internal promotion; and improving their working and economic conditions. In this commitment, he highlighted both the agreement for the upward renewal of salaries for its store staff in Spain and the decision taken by the company, together with its workers' representatives, to start exporting the “extraordinary incentive for commercial performance”—more popularly known as the “shop assistants' bonus”—with which it rewards its shop assistants in Spain, to the other markets in which Inditex operates.

9.- Commitment to Spain

Spain, the company's country of origin and headquarters, will continue to hold a preferential position within its structures, dynamics, and investment strategies. This “commitment” to the country, Inditex's largest market by turnover and where it employs some 50,000 workers, nearly a third of its global workforce, will materialise in new investments. These will be in stores, logistics, and corporate headquarters, including the construction of the new Inditex Campus in Barcelona for the new central offices of Massimo Dutti, Bershka, Oysho, and Lefties.

“We will continue to contribute to the economic growth of our country,” Maceiras asserted to Inditex shareholders. “We were born in Spain. Spain continues to be our number one market,” and “in Spain we will continue to invest; in our stores, in our logistics platforms, in our corporate headquarters, such as the future Inditex Campus in Sant Adrià de Besos.” He also mentioned “deploying new projects in very different areas, including technology, which will contribute to strengthening the business fabric and generating new opportunities for economic growth.”

10.- Support for the “community”

As the final point of his strategies, Maceiras highlighted the growing commitment the company will continue to make to communities in different regions of the world. These commitments have materialised in recent weeks with a donation of 3 million euros to benefit those affected by the earthquakes in Venezuela. Another commitment is the renewal of the alliance with UNHCR, under which Inditex will allocate 13 million euros between 2026 and 2028 to improve the living conditions of Rohingya refugees in Bangladesh. In addition, the company will donate another 7.5 million items of clothing and footwear over the next three years to refugees in countries such as Uganda and Chad. This donation will incur an additional logistics cost of around 2 million euros, which Inditex will cover.

Marta Ortega, a “differentiating” value for Inditex's strength

Concluding this part of his speech, Maceiras continued his address to shareholders by calling for their support for Inditex's future. This new stage will continue to be marked by its origins and fundamental objectives. He praised the positive influence and “differentiating strength” provided by both Amancio Ortega, as founder, majority shareholder, and key figure on its board of directors, and the rest of the founding family members, especially Marta Ortega, in her position as chairwoman of the board. Maceiras thus acknowledged her more than positive and active role in the group's recent results and performance.

“Maintaining our purpose of offering fashion based on design, quality, produced responsibly, and the best possible experience for our customers,” the desire to “continue to grow, continue to innovate, become increasingly efficient” and “have an ever-greater positive impact,” are “tasks that will only be possible thanks to the trust of our shareholders,” Maceiras explained to Inditex investors. “Many of you have been with us for the last 25 years, almost half of our company's life. Our company has an additional factor, a differentiating strength, which is the presence of the founding family in the shareholding and in the chairmanship of the board of directors, supporting our management and providing vision, commitment, continuity and stability every day.”

Regarding this reality and “differentiating strength,” which is personified today in the figure of Marta Ortega, he said, “I invite all of you to continue to accompany us on the road ahead. A road that will undoubtedly be full of challenges and opportunities. Challenges that we will be able to overcome, and opportunities that we will continue to seize as we have always done at Inditex, with humility, with prudence, but also with ambition.”

Inditex's shop assistants take the floor

In an equally noteworthy event, during the final part of the meeting, in the interventions section, Lucía Domínguez Rodríguez managed to take the floor. She is a delegate of the Confederación Intersindical Galega (CIG) and president of the Stradivarius works council in A Coruña. She spoke on behalf of all the store workers of the different Inditex chains in Galicia. A representation of these workers was stationed at the gates of the Inditex headquarters in Arteixo, where the meeting was being held, to protest against the state agreement for large chains promoted by the Asociación Retail Textil España. They condemn this new labour framework, which they say is specially promoted by Inditex, and which will lead to a marked impoverishment of working conditions for workers in regions such as Galicia.

After managing to “circumvent” the control measures for participation in the AGM by buying a share in Inditex, Domínguez began her speech “on behalf of the majority of the workers in Inditex's stores in Galicia.” She made her intentions clear: “to request very relevant information for our group on remuneration and working conditions.” “Today, accounts, reports and remuneration will be approved here, with figures whose magnitude is difficult for us shop assistants, who are the visible face of the company every day with effort and enthusiasm, to comprehend.” “We are the ones who sell the product” that “allows the company's profits,” and while “we are very happy and proud that once again we can talk about great results and great remuneration,” she added, “for years, we shop assistants have fought to improve working conditions.”

In that battle, “it was not until 2023 that we achieved a substantial improvement that has brought us closer to the salaries and improvements that the rest of the company's staff had had for a long time.” However, “subsequently, Inditex created an employers' association of large textile retail companies,” Arte, “with the aim of creating a state collective agreement that is about to be published.” This agreement, if not remedied, will lead to “losses” in wages and working conditions of up to “2,000 euros per year for the largest category in the sector in the province of A Coruña, which is the shop assistants.” Faced with this impoverishment, which would initially affect new workers in particular, “we have formally approached Inditex on several previous occasions, demanding a written solution that guarantees that these unjustifiable and totally unnecessary setbacks do not occur.” However, “the response has been silence, or vague promises, which do not provide any formal guarantee” against this setback.

The agreed salary improvement mentioned by Maceiras is no relief either. In the “best case scenario,” it would not be a +4 percent increase but +1.65 percent per year for provinces like A Coruña or Pontevedra; an increase that “does not correspond to the company's current performance.” In light of all this, Domínguez concluded her speech by demanding an answer from Inditex. She asked if the company would agree to offer “a legal and juridical guarantee, in writing, that these setbacks in salaries and other conditions will not occur, neither for current staff nor for those who join in the future.” She also asked them to sit down and negotiate “an improvement that would effectively make possible the announced +4 percent increase for 2026” for all its workers.

In response to her intervention and demands, García Maceiras replied, “thanking you first of all for your attendance at this Annual General Meeting, and for your contribution to the group's development.” He continued, “I would like to begin by pointing out that, as the chairwoman pointed out in her opening speech, and I also did during my speech, the success of Inditex, the success of this company, is only possible thanks to the commitment, effort and talent of the thousands of people who work with us every day, in our stores, in our logistics, in our offices” or “in our factories.” “And precisely for this reason, our priority from the outset has been to offer employment conditions that are competitive, stable and of high quality, resulting from permanent dialogue with the legal representation of our professionals.”

“In this context, we consider that the recent signing of the first state collective agreement for the large textile retail chains in Spain is very good news for the sector, because it helps to raise the level of protection and working conditions of the large distribution companies in Spain.” However, apart from “that agreement, Inditex's store staff enjoy conditions that are far superior to those of any collective agreement,” especially after having “renewed the state store agreement.” From this point on, and in a more direct response to the shop assistants' demands, he limited himself to pointing out that “our agreements remain fully in force.” He added that “we will continue to work on their evolution, through dialogue and collaboration, with the aim of continuing to recognise that commitment, that effort,” and “the talent of our professionals, which will undoubtedly continue to be an essential driver of our group's future growth.”

In Pictures New York-based cult brand Rowing Blazers has teamed again with Japanese watchmaker Seiko, aiming to repeat the success of their previous three collaborations. This time, the brands have created a capsule collection with two vintage-inspired watches, with each being limited to 2,500 numbered pieces.

“We feel incredibly privileged to have worked with Seiko on a fourth collaboration,” said senior collaborations manager Tommy Cissel in a statement. “To be able to reimagine our original ‘Rally Diver’ in two new sizes and colors is a great way to continue to honor the heritage of both brands. Watches are such an important part of our brand, and we are incredibly excited to continue our partnership with Seiko.”

The capsule was designed by Rowing Blazers and vintage watch expert Eric Wind of Wind Vintage in partnership with Seiko. It includes a racing green 38mm Rally Diver and a bright blue 42mm Rally Diver. Both feature a steel bracelet and a nylon strap, a crown with the Rowing Blazers monogram, a new caseback, and the brand’s faucet “Bath Club” motif and Wind Vintage.

“Working with Seiko is a dream come true," said Eric Wind of Wind Vintage in a statement. “Growing up, my dad’s daily driver watches were Seiko watches, and the first vintage watch I ever purchased was a vintage Seiko 5 Sports Rally Diver from 1969. The Rally Diver from our first Rowing Blazers x Seiko collaboration in 2021 was a tribute to my original Rally Diver and remains one of the most desirable Seiko 5 Sports watches ever made. It is an honor to design and release the next chapter of this iconic collaboration.”

The two Rowing Blazers x Wind Vintage x Seiko 5 Sports models from this collection are SRPM21 and SRPM19, and will retail for $495 each. The watches will be available on Thursday at 11am EST.

As part of efforts to decentralise fashion, the British Fashion Council (BFC) has announced a new UK-wide programme to coincide with London Fashion Week in September.

Dubbed ‘Fashion Britain’, the initiative involves events across Bristol, Liverpool, Manchester, Newcastle and Edinburgh, and brings together retailers, designers and cultural institutions.

Chief executive officer, Laura Weir, revealed details of the programme during the annual summer party, which was then reported on by Drapers. FashionUnited has contacted the BFC with a request for more information.

Fashion Britain serves as an extension of LFW’s City Wide Celebration initiative, which was introduced to Manchester and Newcastle in 2024 before expanding into Liverpool last year.

Weir told guests that the goal was to connect the UK to an economically-crucial industry, while driving high street footfall.

The launch comes as part of broader efforts at the BFC to help British fashion navigate digital transformation and global market dynamics.

The organisation detailed these efforts in its ‘BFC 2030’ strategy, announced in March, with a four-year roadmap designed to pivot the organisation towards a format that promotes sustained, long-term support.

J.Crew Group has appointed Kathleen Van Nest Pierce as president of the J.Crew label, starting August 4. Pierce, who previously worked at Dyson Beauty and The Estée Lauder Companies, will lead the American multi-brand’s merchandising, design, marketing, and retail teams to accelerate business momentum and deliver sustainable long-term growth, according to a statement from the group.

“Kathleen is a one-of-a-kind consumer brand leader with a proven ability to deliver outstanding results, build resonant brands, and forge meaningful connections with customers, and we are thrilled to welcome her to J.Crew,” said Libby Wadle, chief executive officer of J.Crew Group. “J.Crew has always stood for authenticity and designed around an American sensibility that has resonated with customers for generations. Kathleen’s rare combination of brand vision, operational excellence, and track record of driving global growth is exactly what this moment calls for.”

Next chapter

As a former global president for beauty at Dyson, where she spent four years before joining the J.Crew Group, Pierce is credited for expanding the brand’s reach into entirely new categories and bringing 27 products to market in just two years. In a statement, Pierce said she looks forward to "honoring J.Crew’s storied history and creating lasting connections for our customers" in this new chapter.

“J.Crew is one of those rare brands that holds a genuine place in people’s lives — it’s beloved, it’s relevant, and it has extraordinary growth opportunities,” said Pierce. “I’m honored to join Libby and the entire J.Crew team at such an exciting moment."

Kevin Ulrich, chairman of J.Crew Group, said Pierce's expertise in scaling global consumer brands makes her the perfect leader to build on J.Crew’s foundation and accelerate its growth. "I am excited to have an executive of her caliber leading the J.Crew brand into its next chapter," Ulrich said.

It's been a year of growth for the J.Crew Group, which also owns Madewell and J.Crew Factory. In May, the company announced the expansion of its US retail footprint, with three new Madewell stores in key markets this summer, including locations in Long Island, Connecticut and Oregon.

Represent is set to embark on a new venture into Africa. The British premium label has teased its plans for a flagship store in Cape Town via its social media.

In the post, the brand simply states ‘opening soon’ in the caption, with an email plastered on the store’s entry calling for enquiries. The opening date and location have not yet been disclosed.

The location, which would be the label’s first store in Africa, builds on Represent’s ongoing broader retail expansion strategy. The company first ventured into physical retail with a store in Los Angeles in March 2024. It then opened a flagship space in Manchester before launching a London site in July 2025.

Its ongoing growth is being partially backed by investment firm True, which snapped up a minority stake in Represent late 2024 with the mission of helping the brand scale operations and expand into new channels.

Represent has since moved into womenswear, launching Represent Woman with a female-led design team in early 2025, and appointed a new chair and head for the North American market.

Beijing - A fire at a shoe factory in China on Thursday resulted in “heavy casualties”, according to President Xi Jinping. Nearly 200 firefighters and rescue workers were mobilised, according to official authorities and media.

The fire broke out around midday (4am GMT) at the Huiteng factory in Jinjiang, in the Fujian province (south-east of the country), the Ministry of Emergency Management said in a statement.

Local fire and rescue teams dispatched 183 people and 35 vehicles, according to the ministry. It had mentioned people trapped in the building and “victims” but did not specify the number of dead or injured.

The disaster caused “heavy casualties”, Xi Jinping stated more clearly on Thursday evening. He was quoted by the Xinhua News Agency but did not provide a specific death toll.

Live images broadcast by state television CCTV showed firefighters spraying water on a multi-storey white and blue building. The structure was blackened by the flames, with thick grey smoke billowing from its windows.

“Every effort must be made for the search and rescue operations; to support the families; to quickly determine the causes of the incident; and to strictly establish accountability,” Xi Jinping also stressed.

The Ministry of Emergency Management stated that the fire was being brought under control. It demanded “maximum” efforts to extinguish it completely, search for those still trapped, and treat the injured.

Some people remained trapped in the factory and were unreachable, reported the Xinhua News Agency.

China launched a campaign against fire hazards in high-rise buildings in November, after a huge fire engulfed several residential towers in Hong Kong, killing 168 people.

Just one month later, a fire in a residential building in the Guangdong province in southern China killed 12 people.

Yeti Holdings, Inc., the American brand of outdoor recreation products, has hired Damon Johnson as its new director of B2B. According to his LinkedIn profile, Johnson will lead the corporate accounts channel for the brand, building and scaling B2B relationships with organizations across hospitality, entertainment, technology and OEM partnerships, among others.

"It’s a privilege to join a brand I’ve admired for a long time. I’m grateful for the opportunity and excited to work alongside an incredible team," Johnson said. He officially joined the company in June.

Before Yeti, Johnson has held leadership positions at HP and Harman International, leading their consumer audio divisions.

Yeti, based in Austin, Texas, specializes in outdoor products such as ice chests, vacuum-insulated stainless-steel drinkware, soft coolers, dry bags, and related accessories. In May, the company announced a growth of eight percent in sales during Q1 2026, and a boost of 19 percent in wholesale sales, its best quarterly performance in over three years.

Matt Reintjes, president and chief executive officer of Yeti, showed optimism about the brand's fiscal year.

Reintjes said in a statement at the time: "While particularly cautious ordering from our corporate partners across all global regions was a meaningful growth drag in the quarter, our results reflect the strength of our broader direct-to-consumer channels in both Drinkware and Coolers & Equipment.

"As we look forward, we are driving our strategic growth initiatives reaching new, large audiences of global enthusiasts, delivering core category expansion while scaling proven adjacencies and entering global markets with strong economics. The investments we’ve made over 20 years of building Yeti show up in earned, repeatable and disciplined growth supported by innovation, supply chain exibility, and broadening global capabilities. We are incredibly excited about the opportunities in front of us.”

Interview

Scoop is due to return to its Olympia National home in Kensington, London, with an edition channelling an European flair. Spanning July 19 to 21, the British trade show is honing in on its growing reputation as a UK launchpad for international designers, continuing to emphasise its positioning as a premium destination for emerging talent and influential buyers.

The coming season is no different. For July 2026, the event has partnered with the Italian Trade Agency (ITA) to introduce 32 contemporary Italian designers to the exhibition floor, marking a significant push to strengthen the region’s fashion presence in the UK. Among the curated showcases are brands offering ready-to-wear, knitwear, jewellery, handbags, footwear and lifestyle collections.

Ahead of the upcoming edition of Scoop, FashionUnited spoke to the fair’s creative director, Karen Radley, and ITA London office director, Giovanni Sacchi, about the latest partnership, the opportunities for Italian brands, and where the relationship will go next.

What makes this the right moment for a large-scale partnership bringing 32 contemporary Italian designers to Scoop, and what strategic gap in the UK market does it address?

Karen Radley: Italian fashion has always held a very special place at Scoop. Over the years we've introduced many exceptional Italian collections to the UK market, and they've consistently been among the designers our buyers return to season after season. This partnership simply allows us to present that strength on a much more significant scale.

The timing also feels incredibly relevant. Buyers are looking beyond fast trends and investing in collections with longevity, craftsmanship made in Italy and a genuine point of difference. Italian designers continue to offer exactly that, combining heritage techniques with a very contemporary approach to design.

For me, it's about making discovery easier. Rather than buyers having to travel across multiple markets to uncover these collections, Scoop brings together an exceptional cross-section of contemporary Italian design within one carefully curated environment, allowing retailers to discover new designers alongside names they may already know.

Giovanni Sacchi: This is the right moment because several factors have come together. The Italian Government has strengthened its investment in export promotion, allowing ITA to support a record number of small and medium-sized fashion companies in accessing international markets. At the same time, the UK continues to be one of Italy's most important fashion export destinations and one of the world's most influential markets for premium contemporary fashion.

The partnership with Scoop addresses a clear strategic opportunity. Many high-quality Italian designer brands have the creativity and manufacturing excellence to succeed internationally but lack the resources or network to enter the UK market independently. Scoop's carefully curated environment brings together exactly the buyers, boutiques, department stores, agents and distributors these companies need to meet.

By presenting 32 contemporary Italian brands within a single national delegation, we are creating a stronger and more visible Italian presence, making it easier for British buyers to discover new Made in Italy collections while helping Italian companies establish long-term commercial relationships in the UK.

How does introducing a fully curated Italian collective reinforce Scoop's positioning as a premium buying platform for designers and retailers?

Radley: I've spent a great deal of time working alongside the team at ITA this season personally selecting every designer in this collective, and that process has been incredibly important to me. Every collection has been chosen because it brings something distinctive to Scoop whilst complimenting the wider edit, our buyers expect to discover at the show. Curation has always been at the heart of everything I do. I'm never interested in filling space, every designer has to earn their place.

Throughout this process, Giovanni and the ITA team understood exactly what Scoop stands for, which meant we were able to build a collective that feels cohesive, contemporary and commercially relevant rather than simply bringing together a lrge group of Italian designers.

For buyers, that makes a real difference. They know the collections they're discovering have been handpicked for their originality, craftsmanship made in Italy, and commercial potential, giving them confidence every stand is worth visiting. That's what Scoop has always been about, creating an environment where buyers can discover exceptional collections.

What are the key commercial opportunities ITA sees for Italian brands entering the UK through Scoop, particularly for emerging and family-run manufacturers?

Sacchi: For ITA, Scoop represents an ideal gateway to the UK market, particularly for emerging and family-run Italian manufacturers. Many of these companies produce exceptional collections with strong design credentials and outstanding craftsmanship, but they often lack the commercial network needed to establish themselves abroad.

The UK offers significant opportunities because its fashion market values originality, quality and authenticity, qualities that define Made in Italy. Through Scoop, brands can connect not only with independent boutiques, which are often the first to discover and champion new labels, but also with department stores, buying groups, agents, distributors and showrooms that can support their long-term development in the market.

For many of our Italian brands, the objective is not simply to secure orders during the exhibition, but to build lasting commercial partnerships and establish a sustainable presence in the UK.

What should UK buyers and international retailers expect to gain from this specific edit of Made in Italy, across womenswear, accessories, and lifestyle, compared to sourcing elsewhere?

Radley: One of the strengths of this collaboration is its diversity. Buyers will discover beautifully made womenswear, exceptional accessories, footwear, jewellery and lifestyle collections, each bringing their own identity while sharing the craftsmanship and quality associated with Italian design.

Importantly, these aren't collections that all look or feel the same. There's real individuality throughout the edit, from established names with international recognition to emerging designers offering something completely fresh.

Today's retailers are looking for styles that help them stand apart, and this showcase gives them access to collections with strong design handwriting, premium craftsmanship and the kind of authenticity customers increasingly value.

Sacchi: Through ITA's official Italian delegation, UK buyers and international retailers will have access to a carefully selected group of contemporary Italian designers that they might not otherwise encounter.

This year's delegation reflects the breadth and quality of today's Made in Italy, spanning premium womenswear, footwear, handbags, jewellery, accessories and lifestyle collections. By bringing these 32 companies together at Scoop, ITA creates a unique opportunity for buyers to meet emerging Italian designers and connect directly with potential suppliers.

For buyers, this means access to original collections that are not yet widely available in the UK, offering distinctive collections, authentic Italian craftsmanship and strong commercial potential. ITA's objective is not only to promote Made in Italy but also to facilitate long-term business relationships, helping British retailers discover new suppliers while supporting Italian companies in building a sustainable presence in the UK market.

How are you expecting this showcase to influence buyer behaviour at the show, especially in terms of discovery, order-writing, and longer-term brand adoption?

Radley: I think buyers will spend more time exploring. When you create an environment where exceptional collections naturally sit alongside one another, it encourages people to slow down, make unexpected discoveries and have conversations they perhaps weren't planning.

The Italian collective creates exactly that kind of momentum. Buyers may arrive to see one designer they already know but leave having discovered several more that add to their existing offer.

Ultimately, that's what Scoop has always been about. We want retailers to leave having found collections which excite them, differentiate their business and become long-term additions to their buying strategy rather than simply seasonal purchases.

Where do you see this collaboration going next? Could Scoop and ITA evolve this into a recurring proposal for Italian talent or expand into broader European market integration?

Radley: We've always believed that great fashion comes from discovering exceptional talent wherever it exists, and Europe continues to be an incredibly important source of creativity and innovation.

This partnership with ITA feels like a natural evolution of this philosophy. It demonstrates what's possible when thoughtful curation is combined with strong international collaboration, and I'd love to see it continue to grow in the seasons ahead. I am already onboard making initial introductions with agents to designers who are looking for representation within the UK market.

In addition, Scoop has built its reputation on introducing buyers to outstanding designers from across Europe and beyond. If this partnership helps even more Italian collections build lasting relationships with UK retailers whilst giving our buyers access to exciting new designers, then that's something worth continuing to develop in the future.

Sacchi: The fact that, after a ten-year absence from Scoop, ITA has returned with an official delegation of 32 Italian companies in a single edition already says a great deal. It reflects both the Italian Government's commitment to supporting the internationalisation of our companies and ITA's ability to identify and respond to the needs of Italian businesses looking for stronger support in key export markets.

It also demonstrates the work carried out by our London Office, which has closely followed the evolution of Scoop under Karen's leadership over the years while listening carefully to the growing interest of Italian companies in the UK market. Bringing together such a significant delegation is the result of recognising that the timing and the market conditions were right.

The future of this collaboration will, of course, depend on the feedback we receive from the participating companies, as their commercial results and overall experience will be fundamental in shaping our future involvement. However, the outlook is certainly positive.

The UK remains Italy's seventh-largest export market for clothing and the tenth for footwear and leather goods, while British consumers—particularly in the premium segment—increasingly value quality, sustainability, traceability and authentic craftsmanship, all of which are hallmarks of Made in Italy.

All industry insiders know Polimoda, a Florentine institution of excellence in the fashion landscape. However, few are aware that the International Polytechnic of Fashion, now Polimoda, was founded in 1986. It was established through a collaboration between the city of Florence and New York's Fashion Institute of Technology (FIT). The initiative was led by the municipalities of Florence and Prato and the Province of Florence, together with Fondazione CR Firenze; Centro di Firenze per la Moda Italiana; the Florence Chamber of Commerce; Confindustria Firenze; and local business associations.

The link between FIT and the Florence school has always existed. Today, the two institutions are celebrating 40 years of collaboration and announcing the renewal of the agreement that has united them since 1986.

Polimoda provides Fit students with design labs, leather goods spaces and textile research facilities

The agreement for the next three years was signed in recent weeks during the Polimoda Graduate Show 2026 in Florence, where FIT president, Jason S. Schupbach, was a special guest. The event marked the first meeting between Schupbach, a national expert in supporting creative systems, and Polimoda president, Niccolò Ricci. Ricci is the CEO of the international luxury group Stefano Ricci spa.

Both having taken office in 2026 at their respective institutions, the two presidents chose the fortieth anniversary of the collaboration to set a common direction: to consolidate a historic bond and project it towards new goals.

With its Manifattura Campus and Villa Campus, a training hub of over 15,000 square metres in the heart of Florence, Polimoda provides FIT students with design and garment-making labs; spaces dedicated to leather goods and textile research; and photography studios.

Renewal of agreement ensures continuity of Fit in Florence

The renewal of the agreement ensures the continuity of FIT in Florence, FIT's Florentine division, which welcomes American students each year to study Fashion Design and Fashion Business Management at Polimoda's campuses. The programme offers students the opportunity to immerse themselves in Italian fashion culture and practice, developing the creative flexibility and adaptability required by an increasingly global and competitive market.

“To be called upon today to represent Polimoda, an institution of excellence that has promoted the prestige and name of our city on the international stage for forty years, is a source of deep pride and responsibility. In 1986, the Fashion Institute of Technology was instrumental in the birth of an ambitious vision: to establish a training centre in Florence capable of combining the know-how and craftsmanship of the Italian model with a global perspective. That vision has been consolidated over time, creating one of the most authoritative academic institutions in the fashion sector worldwide and strengthening a strategic link between Florence and New York,” emphasised Niccolò Ricci, president of Polimoda, in a note.

“FIT joins Polimoda in celebrating forty years of contribution to fashion education on a global level,” observed Jason S. Schupbach, president of FIT. “The partnership with Polimoda is one of our institution's most significant and long-standing. The programmes developed during this collaboration have contributed to the excellence of both institutions. Our shared history has strengthened the creative industries of Florence and New York. With the renewal of this agreement, I look forward to all that we can build together.”

40 years ago, the New York institute provided staff and expertise to build the new school's curriculum. It entrusted professor Alan Fishman, a twenty-year FIT administrator and lecturer, with the task of moving to Florence to launch the courses. Fishman served as the first director of Polimoda from 1986 to 1992, under the presidency of Alberto Amorosi, who was then a councillor for the Municipality of Florence. The school opened in October 1986 in Florence, initially at Villa Strozzi, provided by the Municipality of Florence, with 52 students from six countries selected from over 300 applicants.

The stated objective was to create what Fishman at the time called a “modern apprenticeship system”: immediate vocational training capable of preparing graduates to enter the industry directly. It is a model that in forty years has trained generations of fashion professionals and is now embodied in an institute with 2,000 students from 107 countries worldwide.

British fashion label JW Anderson opened its first retail space in Paris on Thursday, taking over the 15 Rue du Louvre address, a few blocks away from the Louvre Museum. The pop-up store will stay open until September 24, featuring a selection of men’s and womenswear items, as well as curated pieces from the brand's homeware collection.

Sanchez Benton Architects, founded by Carlos Sanchez and Tom Benton, was responsible for developing the store concept. The company is known for transforming a 1960s parking structure in London into the Peveril Gardens, a public walled garden and artist studios, in 2021.

For this project, the London-based architectural practice updated JW Anderson’s signature aesthetic, using warm materials and colours that nod to the feeling of the handmade designs. According to Anderson, the collaboration was based on things “I like and would like to have around me,” he said in a statement.

Some of the highlight pieces in the store include re-editions of Charles Rennie Mackintosh’s lamps and stools in Scottish oak, Jason Mosseri’s Hope Spring Chairs, ceramics by Akiko Hirai, antique gardening tools, Lucie Rie mugs, handmade Murano glassware, Welsh blankets, hand-forged nails, Houghton Hall Estate honey and coffee-flavoured tea from Postcard Teas.

JW Anderson unveiled its spring/summer 2027 collection in June, presenting a mix of utility with textures and unexpected fabrications in a selection of apparel and accessories. Anderson, who is also the creative director of Dior, also introduced the French label's Haute Couture fall/winter 2027 collection in Paris on Monday.

JW Anderson's pop-up store will be open Monday through Saturday, from 11am to 7pm local time.

Paris - Luxury group Hermès is launching into haute couture and will present its first ever collection in January, AFP learned from the group, confirming a report from WWD.

French designer Nadège Vanhée, who has headed the group's womenswear collections since 2014, will be responsible for creating this first collection, the French brand specified.

The saddler and leather goods maker, known for its iconic bags such as the Birkin and the Kelly, is therefore joining the official schedule of the spring/summer 2027 Haute Couture Week, which will take place from Monday, January 25 to Thursday, January 28.

“What interests us in haute couture is the craftsmanship. We already have a very, very high standard and incredible leather quality, and we thought, ‘why not?’,” explained Axel Dumas, manager of the luxury group, in February 2025.

Haute couture, the most prestigious stage in the fashion world, meets very specific criteria: the designs must be original; made-to-measure and by hand; and designed exclusively by the brand's permanent artistic director in workshops based in France.

Each house commits to presenting two annual shows in Paris, in January and July, comprising a minimum of 25 looks mixing day and evening silhouettes. These pieces are intended for grand galas and red carpets.

Only 13 houses have the legally protected “haute couture” appellation, including luxury mainstays Dior, Chanel and Givenchy, as well as Jean Paul Gaultier, Maison Margiela, Alexis Mabille and Schiaparelli.

For its debut, Hermès will be invited as a guest member, in the same way as Balenciaga, before potentially applying for the appellation.

Fashion group Hugo Boss considers the takeover bid from major shareholder Frasers Group to be inadequate. “The offer price of 38.00 euros per share does not adequately reflect the standalone value and future value creation potential of Hugo Boss,” the company announced on Thursday. The offer has been subjected to an independent review process.

Hugo Boss's management sees significant potential, particularly through its current strategic concept. Given its strong balance sheet, the company is well-positioned “to implement its strategy independently and create sustainable, long-term value for its shareholders.” The offered 38.00 euros per share therefore represents the legally required minimum rather than an appropriate fundamental valuation of the company.

The British company has been attempting to take control of the Swabian firm since mid-June through a voluntary public offer. Frasers is a retail conglomerate backed by entrepreneur Mike Ashley. According to previous statements, the group holds a direct stake of over 26 percent in Hugo Boss.

Social media has been flooded with videos from users worldwide featuring a pair of Zara trousers, though not for the reasons any brand would hope for.

On paper, they have all the makings of a summer staple. They feature a fluid drape, an elasticated waistband, and are available in up to six colours for 22.95 euros. They could save any summer outfit, but apparently, they cannot save you from a trip to the emergency room.

Under the hashtag #deadlyzarapants—which translates to something like “Zara’s deadly trousers”—many users have shared their experiences with the garment on TikTok, often from hospital waiting rooms. “I’m wearing the trousers today, wish me luck” or “I survived today” are some of the messages accompanying the videos. Others simply upload falls captured by security cameras, with the now-popular hashtag as the only context.

The problem, as they describe it, is that the trousers are so wide, long, and lightweight that a moment of inattention is all it takes to trip over the hem. The inevitable question is what responsibility the company would have in such a case, where some users have shared images of scraped knees or elbows and are calling for the company to take responsibility.

From a legal perspective, the issue centres on determining whether this constitutes a case of a “defective product”. A product is considered defective when it does not provide the safety that can be reasonably expected, considering its intended use. Wide, long trousers that one can step on do not usually fit into this category because the risk is open and obvious. Anyone who wears very long trousers understands they might trip if they do not adjust them. In consumer law, this is sometimes known as an “obvious risk” or one inherent to the product, and it generally does not result in manufacturer liability.

There are, however, scenarios in which the brand could bear some degree of responsibility. This would be the case for a genuine manufacturing defect, such as a seam giving way or a length different from that indicated on the label. It could also apply to incorrect sizing information or a marketing message that makes misleading claims about the garment's fit or wear.

In practice, however, a reasonable amount of responsibility falls on the wearer. Choosing the appropriate size and length—or having them altered—is a standard consumer responsibility.

DBGI (Digital Brands Group) is guiding for Q3 2026 revenue of 8.5 million to 11 million dollars, expecting to hit breakeven or positive net income. The announcement is a big deal for a company that lost 3.5 million dollars in Q3 2025, claiming a 500 to 650 percent YoY revenue jump.

The Texas-based company, which operates eCommerce apparel brands such as Bailey 44, Stateside, and AVO, among others, credits its growth to collegiate expansion and a landmark government contract for the first scale deployment program across three cities.

"Our shift toward collegiate licensing and government contracts is scaling rapidly and profitably. This transition proves our new high-margin model is the right strategy to drive sustainable growth and creating both short and long-term shareholder value," said Hil Davis, CEO of Digital Brands Group, in a statement.

DBGI first announced a manufacturing agreement with Yea Alabama, the NIL programme of the University of Alabama, in December 2025, acquiring the rights to exclusively design, manufacture, and distribute collegiate apparel under private label for the university’s bookstores and online storefront. The company later expanded its range in the college apparel sector, jumping from 1 to 18 university deals, including agreements with the University of Colorado, Vanderbilt University and University of Mississippi.

In April, DBGI also announced an apparel licensing deal through Global Combat Collective (GCC), a premier boxing organization, supporting existing U.S. program deliveries up to 125 million dollars in potential aggregate contract value, subject to delivery orders, program requirements and customary conditions.

The latest Q3 forecast does not include 8 million to 9 million dollars in revenue and 3 million dollars net income contributions from the seven additional cities designated for the initial scale deployment program, which were affected by the government shutdown earlier this year.

Fast Retailing, the owner of Uniqlo, has increased its full-year profit outlook for FY26 following a boost in performance during the third quarter.

For the three months to May 31, the Japanese retail giant saw its operating profit increase 45.7 percent to 213.79 billion yen (1.3 billion pounds), up from 146.74 billion yen in the year prior.

As a result of the higher-than-anticipated results, the group raised its forecasted operating profit from 700 billion yen to 730 billion yen, keeping it on track for its fifth consecutive year of record earnings.

The Uniqlo brand welcomed an increase in revenue and profit across all regions, with the international business performing particularly well, as revenues rose 33.8 percent year-on-year, excluding forex impact.

Performance was boosted by the swift opening of Uniqlo stores across Europe and the US, which Fast Retailing said had “further enhanced global brand power and generated strong performances”.

For FY26, the group predicts gains to continue into the second half of the year across all international regions.

Gu’s revenues also increased by 7.5 percent, while its operating profit was up 34.8 percent. A reduction in sales costs and product numbers were cited as the primary drivers.

In contrast, the group’s global brands category, which includes the Theory, PLST, Comptoir des Cotonniers and Princesse tam.tam, saw sales decline 4 percent in local currency terms.

The Theory brand in particular experiencing a decline in performance. Fast Retailing pointed to the dampening of summer sales due to cool weather. This was offset by an increase in profit, driven by lower discounting rates within the US business.

The board of directors at Destination XL Group Inc., (DXL), a publicly traded retailer specializing in Big + Tall men’s apparel, has advised that stockholders reject the revised offer made by Zodiac Partners II, LLC (“Zodiac”) on June 23 to acquire all outstanding shares of DXL for 0.84 dollars per share in cash, and not tender their shares. According to a statement from the DXL board, stockholders who have already tendered their shares may withdraw them at any point prior to the expiration of the offer at 5pm ET on July 24.

“The DXL Board of Directors remains committed to maximizing stockholder value and acting in the best interests of all DXL stakeholders,” said Lionel Conacher, chairman of the board of DXL, in a statement. “After careful review of Zodiac’s revised proposal, the Board unanimously concluded that the modest increase in consideration still undervalues DXL and is not in the best interests of our stockholders. The Board reiterated its belief that Zodiac’s repeated offers are highly conditional, opportunistic and seemingly timed to deliberately exploit a period of market dislocation. We therefore recommend that stockholders reject the Revised Offer and do not tender their shares.”

The DXL Board issued its formal recommendation in a Solicitation/Recommendation Statement on Schedule 14D-9 filed on Wednesday with the U.S. Securities and Exchange Commission (“SEC”). According to the statement, the company is committed to maximize shareholder value and act in the best interest of the Company and its shareholders, based on "current expectations, estimates and beliefs of DXL management."

Zodiac Partners II, LLC, an acquisition entity of Camac Fund, first announced on May 12 an offer to acquire all outstanding shares of Destination XL Group, Inc. for 0.82 dollars per share. On June 3, DXL announced it was not longer continuing with its planned merger with FullBeauty Brands, previously announced in December 2025. On June 23, Zodiac made its second offer, raising it to 0.84 dollars per share, with the total transaction valued approximately 46 million dollars.

Ziggy Gokea, managing member of Zodiac Partners II, LLC, said the second offer "was designed to show the Board the flawed nature of the Full Beauty Brands (“FBB”) merger and to give stockholders a better path forward. The strength of the support we have received to date is a clear signal that stockholders want a choice.”

Kaws, the American artist known for his signature XX motif and Mickey Mouse-inspired companion, has teamed up with Fanatics and Complex to launch a limited-edition collection with two of Major League Baseball’s (MLB) most well-loved franchises, the Los Angeles Dodgers and the New York Yankees.

The collaboration coincides with the two teams' upcoming three-game series at Yankee Stadium in New York from July 17 to 19, and sees Kaws bringing his distinctive visual language to reimagine classic Dodgers and Yankees iconography across Nike jerseys, T-shirts, hoodies, and Nike fitted and snapback caps.

The collection also includes a range of baseball sporting goods, with Rawlings baseballs and Marucci bats, and a limited run of Topps trading cards, featuring Kaws’ signature companion character. The trading cards will also include special editions and randomly inserted Kaws’ autographs.

The limited-edition collaboration will debut in person at Fanatics Fest in New York City from July 16 to 19, at the Yankees stadium team stores on July 16, and at Dodgers Stadium on July 31. It will also be sold on the Complex, MLB and Fanatics e-commerce sites, at the MLB flagship in New York City, and at Nike brick-and-mortar stores and online from July 20.

Fashion and lifestyle brand True Religion has signed a licensing deal with FGX International, an EssilorLuxottica company, to launch a new collection of men’s and women’s sunglasses and eyewear.

As part of the partnership, FGX International will design, manufacture and distribute fashion sunglasses and eyewear inspired by True Religion’s “rich history of trendsetting design”.

The collection captures True Religion's statement logos and heritage style “through a contemporary reinterpretation of Y2K-inspired designs”. Highlights include tinted lenses and bold gold-and-crystal embellishments.

Kristen D’Arcy, chief marketing officer at True Religion, said in a statement: “We are proud to partner with FGX International and to leverage EssilorLuxottica’s extensive global retail network, which uniquely positions the brand within the eyewear category.

“Together, we look forward to creating collections that authentically reflect the brand DNA, strengthen consumer engagement, and support the continued global expansion of True Religion.”

The eyewear line is available now in True Religion stores and online at TrueReligion.com and Amazon.com, with broader distribution planned throughout 2026 across retailers in North America, and select Latin American and European countries.

Denna Singleton, senior vice president of global marketing and portfolio transformation at FGX International, added: “Collaborating with True Religion to introduce our eyewear partnership is an exciting milestone. True Religion is an iconic brand with deep cultural relevance, making it a natural partner for us.

“This collection brings together their bold, expressive identity with our longstanding expertise in delivering accessible, trend-forward eyewear to today’s consumers.”

Authentic Brands Group is accelerating its European expansion of Lee through a new long-term partnership with Experience Group. The deal intends to strengthen Lee’s presence across wholesale, retail and e-commerce, while further extending the brand’s international reach.

Through the agreement, which will come into effect after Authentic finalises its acquisition of Lee, Experience Group will serve as the denim specialist’s operating partner, overseeing men’s and women’s sportswear, activewear and workwear. The company will utilise its regional expertise, operating infrastructure, and product capabilities to back Lee’s next phase of growth.

Authentic’s president of EMEAI, Henry Stupp, said the partnership marked an “important step in Lee’s international expansion strategy”, adding that Experience Group offered “proven operating capabilities and a clear understanding of how to build brands across channels”. “Together, we see a significant opportunity to grow Lee’s presence across Europe while continuing to deliver the products and experiences consumers know and love,” Stupp added.

Authentic announced plans to acquire Lee from Kontoor Brands earlier this year, revealing a deal valued at up to one billion dollars. The acquisition, set to close in the second half of 2026, extended Authentic’s long-term streak of snapping up notable labels, placing Lee alongside the likes of Guess, Dockers and Boardriders.

The group quickly sought to impose its signature third-party licensing and distribution model onto Lee, securing a partnership with One Jeanswear Group for the brand’s operations in the US and Canada.

S&S, a leading wholesale distributor of apparel and accessories in North America, has closed a deal to be the exclusive U.S. distributor for the Adidas Team apparel collection. The agreement reflects more than a decade of partnership between both companies.

“This is an exciting new chapter in our relationship,” said Kendall Whitley, vice president of team sales for S&S, in a statement. “We’ve built a strong partnership with adidas, and this expansion reflects our shared commitment to customer success. Our goal is to be the destination for adidas for all of our valued customers. By combining a broader assortment with the dependable inventory and reliability S&S is known for, we’re making it easier than ever for customers to grow with a brand they already know and trust.”

The Adidas Team apparel collection includes products designed specifically for schools, athletic programs and team organizations.

“Expanding access to premium brands is central to our long-term commitment to customer growth,” said Nick Blannin, senior vice president of product for S&S. “As customer demand for premium brands continues to grow, we’ll keep investing in the products, capabilities and partnerships that help our customers differentiate themselves and win in the markets they serve.”

S&S works with more than 80 brands and an expansive distribution network across North America. In April, the Illinois-based company announced it would also become the exclusive distributor of selected Legends apparel products, including Enzo Collection and Aviation Collection.

Luxury brand Marine Serre was placed into receivership on July 7. The brand is now seeking an investor to continue its operations, according to reports from WWD.

Famous for its crescent moon logo, Marine Serre has successfully attracted a large customer base by championing sustainable fashion through a circular approach that underpins its aesthetic. Like other luxury brands such as Coperni, which entered receivership last June, Marine Serre has not been immune to sluggish consumption. This has affected part of its wholesale network, alongside rising costs.

Pressure on cash flow

“During the 2025 financial year, amid a deteriorating global geopolitical and economic climate, the company was affected by payment defaults from several clients. This put pressure on its cash flow,” stated the press release quoted by WWD.

The brand clarified, however, that the house's “creative identity” and its “attractiveness on the international market” remain strong. To continue operating and growing, Marine Serre is now looking for a financial partner.

Most recently, the company launched a collection in collaboration with the Louvre museum, as well as another with sportswear brand Under Armour.

Global e-commerce network Rithum, which supports the entire commerce journey, has appointed Saks Global executive Kim Miller as chief marketing officer and head of global strategy to support the company’s “next phase of commerce innovation”.

In a statement, Rithum said that Miller brings “seasoned retail, marketing and customer experience expertise” to the company. As CMO and head of global strategy, she will lead its global marketing and strategy organisations, with a focus on strengthening Rithum’s market positioning, deepening customer engagement and helping brands and retailers understand the value of its commerce solutions in the modern AI era.

Miller has more than 20 years of experience leading digital transformation, omnichannel retail and consumer growth initiatives across Fortune 500 companies and high-growth consumer brands. Most recently, she served as chief customer officer at Saks Global, where she oversaw enterprise customer strategy across Saks Fifth Avenue and Neiman Marcus.

Previously, she served as president of Saks Off 5th, overseeing the company’s 1 billion-plus US dollar omnichannel business, and as chief marketing officer at Rakuten, where she led brand and performance marketing initiatives supporting more than 10 million members and 2,000 retail partners.

Commenting on the appointment, Lou Keyes, chief executive of Rithum, said: "Kim brings a unique combination of retail, customer and marketing leadership experience that will be invaluable as we continue helping brands and retailers navigate an increasingly dynamic commerce landscape.

"Having led customer strategy, e-commerce and growth initiatives at some of the world's most recognised retail organisations, she understands the challenges our customers face firsthand. We're excited to welcome Kim to the team as we continue expanding our capabilities and delivering value across the commerce ecosystem."

Miller added: “Rithum has an opportunity to redefine how the industry thinks about commerce technology.

“The convergence of AI, data and commerce is creating new possibilities for brands and retailers, and Rithum is uniquely positioned to help partners and customers not only operate their businesses more effectively, but also gain the intelligence needed to compete and grow. I’m excited to join the team at such a pivotal moment and help shape the company’s evolving story as we continue building for the future of commerce.”

After spending his career scrupulously avoiding being photographed, star Belgian fashion designer Martin Margiela has decided to open up and sell off part of his personal archives.

Fans of the 69-year-old trailblazer, who retired in 2009, will be able to snap up artefacts ranging from sketches to one of his white work coats at an auction in Paris on Thursday that Margiela personally supervised.

But anyone hoping to learn more about one of the most enigmatic characters in fashion is likely to be disappointed, with the sale barely lifting the veil on the man behind the stripped-back brand of monochrome clothing.

"This sale is a creative act, and also a manifestation of his concept, his philosophy," auctioneer Salome Pirson from Maurice Auction told AFP during a tour of the items.

"He's giving the public the opportunity to discover his inner world, to touch his objects, to own his personal coat, but at the same time, he is the one who is most conspicuously absent," she added.

More than 3,000 people have lined up to see the collection featuring a prototype of one of the face masks he obliged models to wear to avoid distracting from the clothes, or champagne corks from bottles drunk to celebrate with some of his earliest clients.

Other items include Barbie dolls used as mannequins and a purple velvet badge to raise awareness about AIDS, with a message reading "There is more action to be taken than to wear this badge but it is a good start."

Margiela's motivations for selling his personal items range from clearing out his storage to personally overseeing the dispersal of the items of fashion history to collectors and institutions.

"He is 69 years old, he has no heirs, and in one way, by organising this sale, he is arranging his own legacy by putting all the potential buyers who might be interested in competition with one another," Pirson said.

Given his huge following in Japan, many Japanese buyers are expected to bid in the sale which will be held in-person and online. Museums and other institutions will also be competing.

Margiela was barely ever photographed, never gave media interviews, and shunned the industry convention adopted by most of his peers of taking a bow in public at the end of a catwalk show.

In a rare effort to engage with fans, he collaborated on a retrospective of his work held at the Palais Galliera museum in Paris in 2018.

The auction will also include Hermes items designed by Margiela while he worked as creative director at the French label from 1997-2003.

The items were all gifted to his late mother.

Fashion by Informa, which operates events like Magic, Project and Offprice, has appointed Emilie Lewis as vice president of events for Las Vegas and Nashville markets. According to the company, Lewis will lead the direction and expansion of its flagship wholesale fashion trade shows.

"Emilie brings an exceptional combination of strategic leadership and market expertise to this role," said Simon Ferguson, executive vice president for Fashion by Informa, via statement. "Her success in building brands, scaling event portfolios and creating meaningful industry connections makes her uniquely positioned to lead our Las Vegas and Nashville events into their next chapter of growth.”

With over 20 years in fashion, lifestyle, retail, and experiential media, Lewis has held leadership roles at Emerald Holdings, Inc., Seacret Beauty, Reed Exhibitions, Brookfield Properties, and Informa Group. She has also led Fashion by Informa's Coterie event from 2012 and 2016.

"I've always been passionate about building communities and creating experiences that bring industries together," said Lewis. "Having previously worked on Coterie, I am thrilled to rejoin the Fashion by Informa team to now lead Project, Magic, and Offprice. These events are the cornerstones of the fashion industry, and I'm excited to work with our team, customers, and partners to continue evolving each marketplace to create new opportunities for growth, discovery, and connection."

Fashion by Informa, formerly Informa Markets Fashion, is part of the MMGNET Group, owned by Informa PLC.

The European textile recycling alliance, ReHubs, has appointed a new board to drive the further development of textile-to-textile recycling in Europe.

New board members are Luca Campadello of Italy's Erion; Kasper Damsø of Denmark's NewRetex; Gianluca Pandolfo of France's Reju; and Paolo Sandri of Thai chemical group Indorama Ventures. Re-elected board members include Dirk Vantyghem of industry organisation Euratex, Felix Poza of Inditex and Véronique Allaire Spitzer of Refashion.

The new chairman of the board is Robert van de Kerkhof (Pepper-i2), while Kasper Damsø and Véronique Allaire Spitzer have been appointed co-chairs.

The new board is tasked with the further implementation of the ReHubs strategy. The alliance aims to recycle 2.7 million tonnes of textile waste annually from 2035, contributing to the transition to a circular textile industry.

The 'Breaking the Supply-Demand Deadlock' strategy, published in September 2025, outlines how ReHubs plans to address the current bottlenecks between the available supply of recycled fibres and market demand. According to the organisation, closer collaboration between collectors, sorters, recyclers, fibre producers, manufacturers and brands is necessary to enable textile-to-textile recycling on an industrial scale.

“The transition to a circular textile industry is urgently needed, but it cannot be achieved by one organisation alone,” said Van de Kerkhof. “With this new board, we have the expertise and shared ambition to further expand collaboration throughout the supply chain.”

ReHubs expects the new board to focus on stimulating investment, strengthening collaborations and creating better conditions for the further growth of circular textile solutions in Europe.

The new board was elected during the annual ReHubs event in Brussels on June 23, which took place concurrently with the Textile Recycling Expo and Future Fabrics Expo.

This news report was written with the help of AI.

Paris - Paris Haute Couture Week concludes its final day of shows this Thursday, July 9, closing an edition dedicated to the autumn/winter 2026-2027 season, which has been presented in the French capital since last Monday.

The Dutch duo Viktor&Rolf presented a collection based on contrasts, with an original staging.

On a revolving stage representing a room, two models, one young and one older, wore several garments. The first model's dresses were bright and golden, while the second's were more subdued and discreet.

"We had the idea of a mirror for a long time. The same choreography, the same shape of the clothes and, at the same time, differences," Rolf Snoeren explained to AFP after the show.

The text continues after the images

The show is part of an intense week that began on Monday with Schiaparelli's sculptural proposal featuring silicone, pearls and tentacles. It also included Jonathan Anderson's praise of pleats in his second collection for Dior. Tuesday brought together Matthieu Blazy's fairytale collection for Chanel, alongside Mabille's reversible pieces, Germanier's beadwork and Armani's dark elegance.

The week also featured much-discussed moments such as the world's first "plasma" dress by Iris van Herpen and Levi's entry into the calendar with Christelle Kocher. Other highlights included Robert Wun's rise as a promising young talent in international haute couture. Wednesday saw the long-awaited debut of Pierpaolo Piccioli at Balenciaga haute couture.

This article was edited by Alicia R. Sarmiento

Gucci, once synonymous with larger-than-life luxury, has fallen far from its rarefied perch. Bloomberg Originals takes a close look at why the iconic brand became a sales bin staple, and how it might pull itself back out.Gucci, once synonymous with larger-than-life luxury, has fallen far from its rarefied perch. Bloomberg Originals takes a close look at why the iconic brand became a sales bin staple, and how it might pull itself back out.

The brand's recent struggles are reflected in its financial performance, with Kering reporting an 8 percent slide in Gucci's sales during the first quarter of 2026, missing analyst expectations despite ongoing revival efforts. This downward trend follows a difficult 2025, where third-quarter revenue plummeted 18 percent to 1.34 billion euros as the maison struggled to navigate a punishing sector-wide slowdown and waning Chinese appetite for luxury goods.

Yesterday, as part of Paris Haute Couture Week, Duran Lantink presented his first couture collection for Jean Paul Gaultier. It was an anticipated debut that confirms the house's new era under his creative direction, which began in autumn 2025.

Lantink drew inspiration from the costume designs Gaultier created in 1985 for choreographer Régine Chopinot. These have materialised in this collection as graphic silhouettes and sculptural volumes. The collection featured cut-out pieces and tubular structures that seemed to grow from the body, combined with the house's recognisable codes like tailored suiting and the iconic corset.

The collection reinforces the upcycling signature that defines Lantink and his irreverent interpretation of the archive. It is an exercise in both continuity and disruption, setting the course for one of the most unique houses on the Parisian calendar.

You can watch the video below:

US apparel company Levi Strauss & Co. (LS&Co.) has once again exceeded market expectations in the second quarter of its 2025/26 financial year. Following the unexpectedly strong results, the denim specialist raised its annual forecast again on Wednesday evening.

In the three months to May 31, revenue amounted to 1.56 billion dollars. This represented an eight percent increase compared to the same quarter last year. On an organic basis, which adjusts for currency effects and changes in the group's portfolio, revenue grew by six percent.

Above-average growth in retail revenue

The growth driver was its own retail business, the strengthening of which is one of management's strategic priorities. Its revenue increased by 11 percent (organically +8 percent). In the wholesale business, the company achieved an increase of five percent (organically +3 percent).

Revenue for the core Levi's brand developed particularly dynamically in Asia, growing by ten percent (organically +12 percent) to 284 million dollars. In the Americas, sales increased by nine percent (organically +7 percent) to 815 million dollars. In Europe, it rose by four percent to 420 million euros; however, on an organic basis, it declined by one percent. Revenue from the sportswear brand Beyond Yoga amounted to 43 million dollars, exceeding the previous year's quarter by 16 percent.

Despite higher tariffs and negative currency effects, the company was able to increase its gross margin by ten basis points to 62.7 percent. According to a statement, this was primarily due to lower product costs and an adjustment in pricing policy. As a result, earnings before interest and taxes (EBIT), adjusted for special items, grew by 18 percent to 141 million dollars. Reported net profit rose by 30 percent to 87.3 million dollars. The quarterly surplus from continuing operations, which excludes the earnings contributions from the Dockers brand sold last year, increased by 19 percent to 94.8 million dollars.

CEO Michelle Gass anticipates further growth

In light of the surprisingly strong figures, the company raised its annual forecast again. Revenue from continuing operations is now expected to grow by 7.0 to 7.5 percent, up from the previously forecast increase of 5.5 to 6.5 percent. The target for adjusted earnings per share, previously set at 1.42 to 1.48 dollars, has been raised to 1.46 to 1.52 dollars.

CEO Michelle Gass expressed her satisfaction with the recent performance. "The Levi's brand is connecting with consumers around the world in a deeper way than ever before, and our second-quarter results are further proof that our strategies are working and our team is executing them successfully," she explained in a statement. The focused development towards a D2C-led denim lifestyle company is leading to faster growth and greater profitability.

Gass also anticipated further improvements. "While we are pleased with the progress, we are still in the early stages of our long-term growth trajectory, with more opportunities for success ahead of us than ever before," she emphasised.

Claus-Peter Mayer is taking on the role of general manager for Central Europe, and will therefore also head up the German market.

Mayer will start his new role on September 1, the Herzogenaurach-based sportswear company announced on Wednesday. He has been promoted from within and has been with Adidas for over 30 years, holding various management positions. Most recently, he managed the entire Southern European market from Paris.

In his new role, Mayer succeeds Marina Moguš, who has been responsible for the Central Europe region since 2021. Moguš is now leaving the company after 19 years to pursue a “new professional opportunity outside the sporting goods industry”.

The management of the Southern Europe region will be entrusted to Olivier Gianina. He has been with the company since 2003 and was most recently responsible for the business in Brazil.

Hong Kong-born designer Robert Wun has not had a holiday in years, but he's not complaining. In 2021, he was working from his kitchen -- now he dresses some of the world's best-known entertainers.

In just five years, the 34-year-old has rocketed from unknown to one of the most sought-after names in the fashion world, designing for everyone from Lady Gaga, Beyonce to rapper Cardi B.

"I have some days off, sometimes," he told AFP with a smile, while admitting to being "quite exhausted mentally and physically because I haven't had a break for two and a half years."

"It's something I always wanted, so that's why I seldom complain about it." Working with his team and models again ahead of his latest Haute Couture show in Paris on Wednesday, Wun is living a dream that was far-fetched for someone from his background.

His mother worked in insurance and his father in electric cabling, while the conservative Hong Kong boys' school he attended was a hostile place for a flamboyantly-dressed creative teenager.

"That's where my stubbornness came in, because I was getting bullied a lot. I managed to still stick with what I truly want to do, or how I want to do things, or how I want to express myself," he explained.

He found his calling -- and other kindred spirits -- studying at the London College of Fashion, going on to make the British capital his permanent home.

He now lives in creative hub Hackney in east London, with his 12-person studio in Dalston producing two or three make-to-measure outfits a month for red carpet events, galas or weddings.

He was possibly the busiest couturier at this year's Met Gala in New York, dressing eight people.

They included K-pop star Lisa, couture collector Jordan Roth and Japanese tennis player Naomi Osaka, for whom Wun designed a show-stopping outfit at the Australian Open in January.

"My father is a big tennis fan. He tried to train me and my sister. We obviously failed, so nothing gives him more pleasure than we are able to dress Naomi," Wun said.

Horror influences

Fascinated by the natural world and heavily influenced by film, Wun produces bold work that is both futuristic and sculptural.

It can often feel dark and claustrophobic too, incorporating influences from horror movies, leading some to see him as the fashion world's Millennial interpretor of the anxiety-filled 2020s.

After a break-out collection in 2021 that caught the eye of Vogue and other fashion publications, Wun made his debut on the Haute Couture calendar in Paris in 2023 as a guest.

In a daring move for someone making history as the first Hong Kong designer on the fashion world's most elite stage, he sent out models in outfits with stains and obvious defects.

For Autumn-Winter 2025, he included what looked like blood-stained handprints, while he also likes to incorporate disembodied hands or limbs.

What you will not find is an obvious Chinese or Hong Kong aesthetic.

"It's a beautiful thing to be able to reference your culture and put it into your work. There's so many creators out there doing a marvelous job at that," Wun explained.

He aims for something more universal, boundary-defying, or as he puts it "the power of taking a back seat sometimes to let your work speak for itself, not yourself being the centre (of attention).

"It's less about, like 'oh my god, I was inspired by this Chinese painting'."

Latest show

His Autumn-Winter collection on Wednesday was named "Child's Play" and drew inspiration from Japanese animator Hayao Miyazaki whose films "Castle in the Sky" or "Spirited Away" are beloved by kids and adults alike.

It is a slight departure from Wun's previous work.

"It was never really my intention to do something that perhaps people see as very serious, or as a reflection upon the times, when things are difficult and dark," he said.

"I really used childhood as the anchor ... I'm not using the lens of a child to create this collection. It's more from the point of an adult that has lost childhood, and what are we supposed to do now, looking back."

The scene is set in December 2016, in a hushed salon at the Ritz in Paris. Chanel is presenting its Métiers d'Art show. Womenswear silhouettes parade by when suddenly, American singer Pharrell Williams, a house ambassador, makes a surprise appearance among the models. He is dressed in a navy tweed coat and a multitude of pearl necklaces, followed by a few other male silhouettes.

The presence of men in a Chanel show was not a first. Baptiste Giabiconi, Karl Lagerfeld's muse, walked the brand's runway several times, notably during the spring/summer 2010 ready-to-wear show. A handful of men's silhouettes were also presented in the 2015/16 Métiers d'Art show. While Chanel's foray into menswear has never gone much further, the French house remains active in the market, developing a very unique strategy.

Pedro Pascal, Jungkook... Chanel's ambassadors

In 1955, the house launched its first men's fragrance with an unequivocal name: Eau de Toilette Pour Monsieur. The range has since expanded beyond fragrance. Watches, eyewear, creams and makeup... Chanel is present in the men's department. To promote these products, it has long relied on ambassadors. The latest include actor Pedro Pascal and singer Jungkook of the South Korean group BTS for its Beauty and Perfumes division. One man among the list of those who have promoted the house has generated more headlines than the others.

In 2012, American actor Brad Pitt appeared in an advertisement for the iconic women's perfume, Chanel N°5. A man for a woman's perfume? The boldness of the move reflects a positioning that transcends gender boundaries, aiming to make Chanel a global brand that appeals to both women and men.

A gender-fluid suit

The question on many professionals' minds today is whether or not Chanel plans to launch a men's ready-to-wear line. While nothing official has been proposed yet, the brand already caters to men, and not just through the beauty segment or with bespoke outfits for the red carpet.

The Chanel womenswear pieces worn by Pharrell Williams (now artistic director of Louis Vuitton's men's lines) at shows and public appearances demonstrated the gender fluidity the brand's clothing can offer. This creative partnership culminated in the launch of an unprecedented unisex capsule collection in 2019. Today, others are following his lead. A$AP Rocky carried a candy-pink Chanel bag at the cruise 2026-2027 show in Biarritz. K-Pop icon G-Dragon has made women's tweed jackets his stylistic signature. Meanwhile, Australian actor Jacob Elordi was spotted wearing a short Chanel jacket with gold buttons from a womenswear collection, identical to a model previously worn by Michelle Obama.

By cultivating this gender-fluid approach, the house recalls that its history began with the same freedom. In 1930, Gabrielle Chanel created her outfits by borrowing from men's clothing, such as trousers and a sailor's shirt. It is this 'boyish' aesthetic that the new artistic director, Matthieu Blazy, revived during his inaugural show in October 2025.

His first silhouette was a grey suit pairing suit trousers with a short jacket with rolled-up sleeves. Men's shirts also made several appearances during the show. These shirts were created in collaboration with Charvet, a historic brand active in the menswear market, which Chanel announced its acquisition last week.

The move could well signal more men's shirts in the womenswear collections. In any case, although no official men's line has been announced, gender fluidity is expected to remain the brand's leitmotif. This is not only because the approach is part of its roots, but also because it meets the demand of Gen Z.

In 2025, the gender-neutral fashion market was valued at 24.70 billion US dollars, according to Fortune Business Insights. It is expected to grow from 26.53 billion US dollars in 2026 to 54.12 billion US dollars by 2034. Although the men's fashion market is larger, it is also a saturated sector. Other well-established brands already offer a benchmark range to an affluent clientele, such as Hermès, Loro Piana, Brunello Cucinelli or Berluti.

Given the potential of gender-neutral fashion, the choice not to create a dedicated men's line also proves to be a formidable weapon against the competition. By refusing to conform to traditional segmentation, the Rue Cambon-based house skilfully avoids a direct and costly confrontation with the already firmly established giants of menswear. Instead of a ready-to-wear line specifically designed for men, Chanel will find it advantageous to continue capitalising on this organic ambiguity. This is a unique way to stand out in the market by transforming its feminine icons into universal pieces, where cut, craftsmanship and style definitively take precedence over gender labels.

Claus-Peter Mayer is taking on the role of general manager for Central Europe, and will therefore also head up the German market.

Mayer will start his new role on September 1, the Herzogenaurach-based sportswear company announced on Wednesday. He has been promoted from within and has been with Adidas for over 30 years, holding various management positions. Most recently, he managed the entire Southern European market from Paris.

In his new role, Mayer succeeds Marina Moguš, who has been responsible for the Central Europe region since 2021. Moguš is now leaving the company after 19 years to pursue a “new professional opportunity outside the sporting goods industry”.

The management of the Southern Europe region will be entrusted to Olivier Gianina. He has been with the company since 2003 and was most recently responsible for the business in Brazil.

Alice Temperley, the founder of Temperley London, has announced her departure from the eponymous British luxury brand, where she has served as creative director since its inception.

The news was confirmed in a statement to FashionUnited from the company, reading: “Alice leaves with the backing of the team and house she has helped build. Further details on the appointment of a new leadership team and a new design director will be shared in due course.”

Temperley established her namesake brand in 2000 after graduating from the Royal College of Art. The label became known for its eccentric British identity and bohemian signatures, evident in collections that were occasionally created alongside other leading designers.

Temperley was recognised for her services to the fashion industry in 2011 when rewarded with a royal MBE. She has also won several prestigious awards including Elle’s Best Young Designer of the Year and the Hollywood Style Awards’ Designer of the Year.

The company currently operates a flagship store on Sloane Street, London, while its headquarters are based in Ilminster, Somerset, where a second store is also located. Previously focused on ready-to-wear, Temperley London expanded into bridal in 2006, extending its emphasis on craftsmanship and timeless silhouettes into a new sector.

After facing significant retail challenges in 2021, leading to a restructuring of the business and a shift to a direct-to-consumer model, Times Square Group LLC and its investment arm, Luxutte Capital, stepped in to acquire a majority stake in Temperley London in 2023.

Next to category expansions, plans for an international growth strategy were confirmed, with an emphasis on the Middle East, where the investment firm is based.

Golf footwear brand Alma Mater has announced a new group of athlete investors as it prepares to open its next fundraising round, bringing together professional golfers and stars from the NFL, NHL, MLB and NBA.

The investor line-up includes golfers Taylor Montgomery and Natasha Oon, NFL players Jordan Poyer and Levi Wallace, NHL veterans Joe Pavelski and Tyler Seguin, alongside former MLB players Kevin Millar, Jackie Bradley Jr., Jed Lowrie and Chris Young.

The announcement comes as the company looks to accelerate growth following the launch of its Beta golf shoe, which debuted in 2025. Built around Alma Mater's proprietary 3PE Technology, the shoe was designed to combine performance, comfort and style without the trade-offs traditionally associated with golf footwear.

In a statement, chief executive officer, Nathan Brown, said the athletes invested because they believed in the product rather than as part of a sponsorship agreement. "This group didn't sign on for a check. They invested because they've worn the shoe, they know what we're doing differently, and they want to be part of building something that gives golf what it deserves."

Talent development remains a strategic focus for the Kering group's brands. The company announced today that it has signed the first memorandums of understanding with eight local educational institutions at the Campus Valore Italia - Mind Milano innovation district.

This initiative aims to create a widespread network capable of projecting traditional crafts into the future. Specifically, the network involves eight local organisations: ACOF, AFOL, Capac, Galdus, HModa, ITS Cosmo, Istituto Modartech and Schola.

The Think Tank 'Comitato di pensiero', an advisory body that will guide the strategic development of the Kering Accademia per le eccellenze, has now been established. This network is led by Sabina Belli, head of Kering Accademia per le eccellenze and CEO of Pomellato.

It also includes Alba Cappellieri, head of jewellery and accessory design at Politecnico di Milano; Angelo Crespi, director general of the Pinacoteca di Brera, the Biblioteca Nazionale Braidense, Palazzo Citterio and the Cenacolo Vinciano; and Stefania Lazzaroni, director general of Altagamma.

“With the Kering Accademia per le eccellenze, we do not simply want to pass on a technique inherited from the past, but to transform traditional crafts into dynamic, contemporary and strongly future-oriented professions. To respond to this change, we must combine the precious 'intelligence of the hands' with critical thinking, creativity and technological innovation,” Belli emphasised in a note.

The initiative is structured as a nationwide training ecosystem, created to bring together and strengthen the existing training centres within the group's historic maisons, such as Bottega Veneta, Brioni, Gucci and Pomellato itself.

The academy's curriculum redefines the training approach by combining the four traditional pillars of the sector: clothing, men's tailoring, leather goods and jewellery. This is integrated with the development of cutting-edge skills related to technology, artificial intelligence and new materials, aiming to transform classic crafts into dynamic and forward-looking professions.

The signing of the first memorandums of understanding marks the beginning of a collaboration based on the sharing of skills and educational pathways.

Madrid – In one of the most anticipated shows of this Paris Haute Couture Week, Balenciaga presented its annual Haute Couture collection mid-morning on Wednesday, July 8, 2026. This is the first collection under this label by the Rome-born designer Pierpaolo Piccioli, following his confirmation as the new creative director of the historic fashion house at the end of May 2025.

This show took place almost exactly one year after the designer's effective start as the new head of the design department at the Kering group's fashion house on July 10 of last year. Piccioli showcased his first haute couture creations for Balenciaga under the scorching sun of a particularly hot Paris. For this presentation, the acclaimed designer decided to move away from the traditional salons of Balenciaga's historic headquarters at 10 Avenue George V in Paris.

He instead chose the elegant courtyard of the Cité Internationale Universitaire de Paris campus, located in the southern part of the French capital. The university's historic buildings are reminiscent of and inspired by French heritage architecture, particularly the monumental Château de Fontainebleau, which Napoleon claimed as emperor of the French. This venue hosted what is believed to be the first and only outdoor Balenciaga Haute Couture show.

To place it in the historical context of the fashion house founded by the great Spanish master Cristóbal Balenciaga, today's presentation in Paris is the sixth Haute Couture collection since the line was revived. The revival began with the presentation of its 50th Haute Couture collection on July 7, 2021, following the couturier's retirement and the closure of his fashion house in 1967. This repositioning towards its “natural space” was then led by the Georgian designer Demna Gvasalia.

Before passing the baton to Piccioli and taking on the significant challenge of relaunching Gucci, he designed up to five Haute Couture collections for Balenciaga. The Rome-born designer made his debut in this role on Wednesday, a task he was already familiar with from his previous position as creative director of Valentino.

For Valentino, he presented a final Haute Couture collection for the spring/summer 2024 season during the January 2024 Haute Couture Week. This followed his autumn/winter 2023/2024 Haute Couture collection in July 2023, where we noted the palpable and visible inspirations from Balenciaga's work in his designs. Indeed, Wednesday's show, from its atmosphere to its designs, seemed to be a continuation of that Valentino show. In hindsight, it appears to have paved the way for the Rome-born designer's appointment to the creative direction of Balenciaga.

Between (new) sack, balloon and “peacock tail” dresses

Following on from this, today's show saw Pierpaolo Piccioli present Balenciaga's 55th Haute Couture collection. The collection demonstrated his deep understanding of the extraordinary craftsmanship that the master from Getaria displayed in every stitch and every fold of fabric. He presented a vibrant succession of looks inspired by the Spanish designer's work, yet adapted to modern times and reflecting his own creative sensibilities.

The result, starting with the colour palette, is a collection based on a vibrant, stimulating and colourful symphony. Neutral tones of muted sand brown; pure white; stone grey and jet black are contrasted by the Rome-born designer with electric coral oranges; refreshing aquamarine greens and calm sky blues; sumptuous purples; captivating pastel yellows; cheerful forest greens; autumnal aubergines, clarets and burgundies; and a wide and vivid family of pinks, from pastel accents to Schiaparelli's signature “shocking” pink. The presence of pinks inevitably brings to mind the “Barbiecore” trend that Piccioli helped to popularise during his time at Valentino. Here, however, it is secondary to the clear references to Balenciaga's imagery and methods that the Rome-born designer has pursued for this collection.

The collection draws inspiration from the works of Zurbarán, El Greco and Goya, artists who greatly influenced Balenciaga during his lifetime. It features a series of designs marked by the same colour palettes that characterise the paintings of these and other great Spanish masters. These colours are used in blocks, with an almost total absence of prints. This rule is broken only for textured finishes or for floral prints, which are incorporated more as a flat decorative pattern than as motifs with their own weight and identity within the collection.

As for the silhouettes, enveloping, fluid, shell-like lines and animal influences predominate, in keeping with the finest legacy of Cristóbal Balenciaga's craftsmanship and his sack, “peacock tail”, balloon or trapeze designs. These were constructions with which the master from Getaria gave the language of fashion a timeless alphabet that is still constantly revisited today. Piccioli's particular task is to build the present moment for the fashion house that bears Balenciaga's name.

The Rome-born designer shows that he draws from the heritage, archive and history of the Balenciaga house. He also demonstrates his talent for subverting this legacy, renewing and updating it for the current fashion landscape. The result? Archetypes clearly rooted in the golden age of Haute Couture, but with their branches taking the attractive form of fluid funnel-neck blouses, cape-like gilets, coat dresses, or transparent blouses with a “peacock tail” cut.

This dual language, fusing the Haute Couture of yesterday with the streetwear of today, makes Piccioli's intentions clear. Firstly, he wants to help position Balenciaga as a benchmark for today's fashion lovers. Secondly, he aims to create a Haute Couture that is as intoxicating to the senses as it is wearable, just as Balenciaga's creations were in his time.

During a show attended by figures such as Demi Moore, Isabelle Huppert and Naomi Watts, the Spanish-heritage house presented a collection that stands as “a tribute to the principles of Balenciaga as a Haute Couture house, rooted in its axioms, its singularities, its truths,” the brand stated in the text accompanying the show. The collection is built on the same fundamental principle that Cristóbal Balenciaga attributed to fabric as the beginning and end of his designs.

Piccioli has adopted this methodology to shape the different pieces in this collection. They are crafted from tulle, muslin, feather details or the same silk gazar fabric that the Spanish designer invented, which allowed him to give volume to his astonishing creations. The Spanish couturier's “obsession” with “three-dimensionality, with sewing as true sculpture” at the service of the female body is what this first Haute Couture collection by Pierpaolo Piccioli for Balenciaga particularly aims to honour.

The National Council of Textile Organizations (NCTO), a Washington, DC-based trade association that represents the full breadth of the US textile industry, has offered recommendations in the US Trade Representative’s (USTR) ongoing Section 301 investigations, calling for new tariffs on apparel imports from countries at risk of forced labour in their supply chains, while proposing three reforms to encourage the growth of the domestic industry.

NCTO advocates for domestic textile industry protection in USTR Section 301 Investigations

According to the NCTO, forced labor remains prevalent across international textile and apparel supply chains, putting US manufacturers at a "disadvantage." The organization argues that the administration now has the opportunity to "take meaningful actions in the investigations to revitalize the domestic textile industry" while protecting it from "predatory trade practices like forced labor."

At the same time, the NCTO warns that while the right approach "could potentially double industry capacity," the wrong one could "cost US jobs" and cause "irreparable harm." The tariff recommendations come ahead of NCTO president and CEO Kim Glas testifying at the USTR hearings on Section 301 forced labor investigations on July 9.

NCTO's recommendations come after USTR initiated 60 investigations into economies alleged to have failed to impose and effectively enforce a prohibition on the importation of goods produced with forced labor in March. After reviewing more than 450 written comments and hearing from nearly 60 witnesses, USTR found all 60 economies actionable and proposed tiered additional duties on June 2, including 10 percent for jurisdictions with forced-labor import prohibitions or commitments, and 12.5 percent for those without.

The USTR investigation is widely seen as the next step in replacing the administration's IEEPA tariffs. With a temporary 10 percent Section 122 surcharge set to expire on July 24, 2026, unless Congress extends it, USTR has an incentive to finalize the Section 301 duties before then. For countries that rely on garment production and export, including Bangladesh, Vietnam and India, the proposed duties would land hard on top of what has been a turbulent year to date, as the current tariff regime has already driven sharp export declines and led to tens of thousands of job losses across Bangladesh and India.

In addition to urging the USTR to impose Section 301 duties on apparel and finished textile products from China, the Global South, and Southeast Asian countries at risk of using forced labor in manufacturing, and to strengthen customs enforcement, NCTO is also calling on USTR to preserve duty-free treatment for textiles and apparel that meet the United States-Mexico-Canada Agreement (USMCA) and Central America-Dominican Republic Free Trade Agreement (CAFTA-DR) requirements.

The organization is also urging necessary reforms within the USTR's proposed textile mechanism to support domestic growth. NCTO calls for three reforms within the textile mechanism proposed by USTR as part of its forced labor investigation. These include the exclusion of raw cotton from the mechanism, arguing that the cotton track rewards the offshoring of US yarn, fabric, and apparel production and ultimately benefits Asia. NCTO is also seeking an exemption from additional Section 301 tariffs for textile manufacturing inputs and machinery not available domestically, to protect US competitiveness. Lastly, the organization calls for the mechanism to be restructured to incentivize more Western Hemisphere sourcing, rewarding supply chains free of forced labor.

To aid these reforms, NCTO has partnered with the American Apparel & Footwear Association (AAFA), the United States Fashion Industry Association (USFIA), and the US Industrial and Narrow Fabrics Institute (USINFI) to develop an alternative textile and apparel incentive program, the first time these organizations have jointly advocated for a trade policy initiative. The program is designed to "reshore domestic manufacturing, stabilize and grow Western Hemisphere textile and apparel supply chains, and help brands and retailers to diversify sourcing at a critical time.

"USTR should include an innovative textile proposal that would reward the whole textile and apparel supply chain, including US cotton, through a novel program developed by NCTO and brands and retailers to create over 56,000 jobs in the United States," the submission stated.

Final decision-making by the USTR is expected to occur before July 24.

MVC Group, a company specialising in technical apparel for cycling and outdoor sports, has established MVC UK Group Ltd. This marks the group's tenth international subsidiary.

The new entity will manage the direct distribution of the Castelli and Sportful brands in the UK and Ireland. Management explained this will "generate synergies and operational efficiencies that will allow the group to significantly strengthen the presence of the two cycling brands in the area".

"With this new operation, the third completed in less than a year, we are achieving an important objective: direct control of distribution in specific strategic markets where, from today, we aim to grow even faster. We will work in the area ensuring operational continuity for our customers, while at the same time investing to support new commercial initiatives,” emphasised Emilio Foà, chief executive officer of MVC Group, in a statement.

MVC Uk has taken over operations from Saddleback, the long-standing distributor and partner. Saddleback has ceased its activities after contributing significantly to the success of the Castelli and Sportful brands in the UK for many years.

The establishment of the tenth subsidiary falls in line with the group's multichannel development strategy. This strategy aims to more efficiently oversee selected markets where it intends to support commercial expansion, including through dedicated investments. The move follows the acquisition of Wolvenberg, announced last February, which led to the creation of Mvc Benelux.

The objectives set for the UK markets will further strengthen those already outlined in the group's three-year plan. The plan estimates a significant increase in turnover to approximately 150 million euros in 2028.

James Roth has been appointed as SVP, head of stores & operations and visual merchandising at Gap, bringing to the US apparel giant nearly 24 years of experience from Abercrombie & Fitch.

Roth announced his new position on LinkedIn, where he said: “Grateful for the teams and partners who’ve shaped the journey, and energised by the work ahead alongside the amazing team continuing to build meaningful momentum across Gap.”

Roth joins Gap after serving as an independent retail advisor for one year and as chief stores officer at Petco during the year prior. Much of his background, however, lies in Abercrombie & Fitch, where he started his career as a district and store manager in 2000.

Over the 24 years he was with the retail giant, Roth held roles of increasing responsibility, serving as VP of Hollister stores, SVP of global stores and, most recently, executive vice president of global stores.

He joins Gap during a period of leadership transition and strengthening financials. In May, Gap Inc. raised its full year guidance after reporting a 1 percent sales increase in the first quarter ended May 2, 2026.

The group’s namesake brand, Gap, delivered a 10 percent increase in both net sales and comparable sales, marking one of the strongest performances for the retailer in more than two decades. Culturally relevant storytelling in destination categories, such as denim, fleece, and kidswear, was cited as the core driver.

Paris - Bernard Arnault and his family, who control the luxury giant LVMH, have reclaimed the top spot in the annual ranking of French professional fortunes, published on Wednesday by Challenges magazine. The position was taken from them last year by the heirs of Hermès.

Once the richest man on the planet, he is now significantly behind Elon Musk. He and his family hold an estimated fortune of 121.2 billion euros.

In early 2025, Hermès had better withstood the slowdown in the global luxury market. It briefly became the leading French company by market capitalisation, ahead of LVMH. The LVMH share price has since recovered. The luxury giant, in which the Arnault family holds more than half, is once again valued at approximately 250 billion euros on the stock market.

The heirs of Hermès have consequently fallen to second place in the Challenges ranking of French professional fortunes, with an estimated fortune of 114 billion euros.

The magazine counted 153 billionaire families in France this year, eight more than in 2025. According to Challenges, the combined wealth of the 500 largest French fortunes reached 1,076 billion euros this year, down from 1,129 billion euros in 2025.

The Challenges ranking is based on company shares and stocks. Their value is determined by stock market prices or estimated if the securities are not listed. The ranking does not account for personal assets, such as real estate.

The rest of the ranking shows little change. Brothers Alain and Gérard Wertheimer (Chanel) remain in third place with 95 billion euros, ahead of Françoise Bettencourt Meyers of L'Oréal with 69.7 billion euros.

Rodolphe Saadé is the owner of the shipping company CMA CGM. Its profitability is suffering from the conflict in the Middle East, and his professional wealth is estimated at 31.5 billion euros, down from 35 billion euros in 2025.

Following are Xavier Niel for Free with 30.1 billion euros; the Dassault family with 27.7 billion euros; Gérard Mulliez with Auchan and Decathlon at 27 billion euros; François Pinault of Kering with 19.2 billion euros; and Emmanuel Besnier with Lactalis at 14.2 billion euros.

At the end of 2025, Arnault became the sole owner of Challenges after acquiring the shares of Claude Perdriel, the 282nd wealthiest person in France. This change in ownership led to the departure of journalists.

Redress has announced the eight finalists for the 2026 edition of the Redress Design Award, highlighting emerging talent that spearhead circular and sustainable fashion practices.

Representing seven regions across Europe, Asia, and the Middle East, the eight finalists will showcase their collections at the Grand Final Fashion Show in Hong Kong in September. Each collection produced by the finalists will showcase a solution for common as well as more complex issues surrounding textile waste, focusing on circular design.

Two of the finalists hail from Hong Kong: Jasmine Cheuk and Issac Tong, who developed their collections from post-consumer and pre-consumer waste, including excess stock, damaged textiles and industrial waste, using reconstruction and upcycling techniques.

Alexandra Burch, from the United Kingdom, created her collection from faulty and reclaimed tweed blankets, while Tal Zohar of Israel combined recycled fibres, leftover leather waste, secondhand hardware, and excess yarn. Jon Liesenfeld of Germany and Holly Shih, of British and Taiwanese heritage, both worked with non-clothing waste, including vintage furniture leather, army canvas, and reclaimed rattan.

David Schuch of Austria turned to biodegradable fruit leather and ethically sourced, non-livestock wool, while Yi Ding of China used engineered knit made from recyclable polyurethane yarn to create fully zero-waste knitwear.

“Around the world, the legislative hammer is coming down on the polluting fashion industry,” said Dr. Christina Dean, founder and chair of Redress and judge, in a comment. “Despite the complexity, the fashion industry is screaming for circular design solutions. The Redress Design Award circular fashion designer finalists are the breed of the future.”

In August, the public will also be invited to cast their vote for the People’s Choice Award, an award that highlights the importance that consumers have in tackling fashion’s waste crisis. The People’s Choice winner will be announced during the Grand Final in Hong Kong, which will be livestreamed for viewers around the world.

The winner of the Redress Design Award will receive an exclusive trip to the UK, where they will connect with leading players in the sustainable fashion space to gain further insights into responsible fashion design, development, and manufacturing. Tailored to the winner’s career goals, the prize includes international exposure, industry mentorship, and valuable real-world experience within the sustainable fashion industry.

The Redress Design Award, supported by lead sponsor the Cultural and Creative Industries Development Agency (CCIDA), is the world's leading sustainable fashion design competition, with alumni across more than 40 regions.

French running equipment specialist i-Run has acquired its Belgian counterpart Trakks. This strategic move, announced by Trakks in a LinkedIn post, allows i-Run to open its first physical stores outside of France. The company already has a strong online presence across Europe.

The French running specialist has bought the six physical shops and the e-commerce site of the Belgian brand Trakks, according to reports from the business daily L'Echo. The financial details of the transaction have not been disclosed. Trakks' physical network includes six points-of-sale located in the following municipalities: Etterbeek; Uccle; Charleroi; Rocourt; Jambes; and Waterloo.

In a LinkedIn post, Christophe Thomas, founder of Trakks, wrote: “This may seem like a “simple” deal, but it is much more than just a deal (...) Over months of discussions with the i-Run management, we discovered that we share genuine and sincere common ground. This has only strengthened our desire to work together.”

The i-Run company, founded in France in 2007, currently operates 24 stores in its domestic market. At the same time, the distributor has developed a strong digital presence with e-commerce platforms active in several European countries: France; Belgium; Spain; Germany; the Netherlands; Portugal; Austria; and Italy. This acquisition agreement significantly strengthens i-Run's position in the Benelux sportswear market.

Workers at Net-a-Porter’s Charlton warehouse have resumed their strike after rejecting the luxury e-tailer’s latest pay offer. After a period of postponement, action by members of trade union GMB walked out again on July 7 and continued into July 8.

GMB said the majority of workers have rejected the company’s pay offer, with fresh redundancies also said to be adding towards growing anger across the workforce. The organisation had postponed industrial action earlier this year to allow for negotiations, with the goal of reaching a revised agreement on an improved offer.

In a statement, Craig Prickett, GMB regional organiser, said: “Members are raising serious concerns that a significant part of the proposed pay package relies on performance targets they believe are unrealistic, unachievable and, in many cases, outside of employees’ control. The dispute has further intensified following the announcement of a further round of redundancies, leaving many employees facing uncertainty over their jobs.”

Strike action at the Charlton warehouse was first initiated in May, at which time deliveries were expected to be “savaged” despite the warehouse remaining operational. Workers raised concerns over Net-a-Porter’s alleged failure to pay the London Living Wage to its lowest-paid staff.

At the time, LuxExperience, Net-a-Porter’s parent company, said it was “open to engaging in constructive dialogue with union representatives as we navigate the next steps in this process”.

The strike comes as Net-a-Porter’s financial positioning continues to improve under the turnaround strategy of LuxExperience. The German 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. FashionUnited has contacted LuxExperience with a request to comment on the latest strike action.

Contemporary French fashion brand LGN Louis Gabriel Nouchi has launched a limited-edition collaboration with subscription-based social platform OnlyFans, where creators can monetise exclusive content directly from their followers.

The three-piece collection, which debuted during Paris Men’s Fashion Week, continues Nouchi’s exploration of the body, sensuality and desire with a capsule designed to blur the line between underwear, sportswear and fashion with the reinterpretation of everyday essentials with sculptural cuts and sensual proportions.

Exclusively available through the OnlyFans Store, the capsule features white briefs and black boxer shorts with an asymmetrical opening and OnlyFans logo on the waistband, alongside a ribbed white tank top with an asymmetrical neckline and printed OnlyFans graphic. Prices range from 65 to 150 pounds.

The OnlyFans collaboration follows LGN joining the social platform earlier this year to expand the brand’s creative universe through exclusive films, behind-the-scenes documentation, ASMR experiments and collaborations with artists exploring intimacy, desire and the body.

“I’m really proud to be able to show our community how we can extend the universe of LGN,” explains Nouchi. “For me, OnlyFans isn’t simply another social platform. It’s a creative space where I can experiment with different formats, collaborate with artists and develop the LGN universe without reducing everything to a single image or a few seconds of content. That’s incredibly valuable as a designer.”

To launch the collaboration, LGN worked with Tré Koch to shoot a campaign featuring Shamu Azizam, which drew inspiration from the cerebral but sexy, sensual imagery of 1990s fashion campaigns.

Keily Blair, chief executive of OnlyFans, added: “LGN Louis Gabriel Nouchi’s collaboration with OnlyFans is unapologetically sexy and represents a bold but elevated step in the evolution of our fashion offering.

“Since joining the platform earlier this year, Louis has offered subscribers a window into his creative world, collaborating with creators and experimenting with different content forms. We’re excited that creators and fans alike can now get hold of pieces from the limited-edition collection themselves.”

The Paris-based designer joins a growing list of fashion designers on the platform, which includes Rick Owens, Louis-Gabriel Nouchi, Collina Strada, Johnny Hoxton and Elena Velez, and follows in the footsteps of London-based Poster Girl, which also launched a collaboration with OnlyFans in April.

Ankara - US president Trump wants to end all trade with Spain. At a press conference during the NATO summit in Ankara, Trump said: “I don’t want to continue trading with them”. Similar to last year's NATO summit, Trump was deeply annoyed with the position of NATO partner Spain.

“Spain is a terrible partner in NATO. They don’t participate, they don’t pay,” said Trump. “End all trade with them.” US treasury secretary Scott Bessent was also present at the press conference. He made no concrete announcements on how such a measure would be implemented.

Trump's plan would not be easy to implement, as Spain is a member of the European Union and the European single market. In trade matters, member countries have largely transferred their powers to the European Commission in Brussels, which speaks and negotiates on behalf of the member states.

British high street retailer Marks & Spencer is set to make its official London Fashion Week (LFW) debut this September, presenting a “see now, buy now” womenswear and menswear collection.

M&S’s debut at LFW coincides with the 100th anniversary of its fashion collection and sees the high street retailer presenting its global collection on the official runway schedule. The runway show itself will centre on a collection of womenswear and menswear that will be immediately available online and in flagship stores across the nation, as well as in key international markets.

M&S aims for accessibility with debut London Fashion Week "See Now, Buy Now" show

“This is a special moment; for 100 years M&S fashion has been part of everyday life, and now we will showcase our designs on fashion’s global stage,” said Stuart Machin, CEO at M&S, in a statement. “At M&S we focus on designing clothes with style, quality and value, and making fashion accessible to all. That’s why we will stream our show, bringing one of the world’s leading fashion weeks and the magic of M&S to everybody. Customers can shop the collections online or from M&S stores across the UK.”

M&S’s London Fashion Week show builds on the retailer’s first-ever international runway show streamed from the Casa del Compliments in Ibiza, which was viewed by more than 26 million people, and its debut catwalk event at the Silverstone British Grand Prix, during which it presented a fashion edit of its ‘Dress to Thrill’ range and the M&S x Atlassian Williams Racing partnership travel kit.

“I’d like to thank the British Fashion Council for supporting us in joining the LFW schedule. We look forward to our first LFW show in September and launching our new collection to everyone," added Machin.

The event comes as M&S continues to experiment with more immersive approaches to showcasing its fashion collections in an attempt to connect with its global consumers in new, unexpected ways. At the same time, it also sees the British high street retailer looking to cement the newer direction of its fashion collections, highlighting the accessibility and contemporary feel of the range.

M&S's debut LFW show also comes a decade after fellow high street retailer Topshop became the first to host such a runway event at London Fashion Week, unveiling an 80s-inspired collection at Old Spitalfields Market that went on sale right after the show.

“London Fashion Week is a global platform for creativity, innovation and cultural influence, showcasing the very best of British fashion to the world,” said Laura Weir, CEO of the British Fashion Council, in a statement. “As one of the great icons of the British high street and a valued patron of the British Fashion Council, M&S has played an important role in the nation’s retail and cultural story for generations.”

Marks & Spencer's London Fashion Week show is set to take place on September 18. Details regarding the location have yet to be confirmed.

London-based start-up Fleek, which is building the AI infrastructure to digitise second-hand fashion supply chains powering Vinted, Depop and Whatnot, has secured 25 million US dollars in Series B funding.

The investment was led by Burda Principal Investments, an early Vinted backer and lead investor in its Series C round, with participation from Ebay, FJ Labs, and H14, alongside existing backers, including Andreessen Horowitz, HV Capital, and Y Combinator.

In a statement, Fleek said the funding would be used to accelerate the development of its AI-native marketplace, expand its engineering teams, scale its technology platform and grow its global buyer and supplier network.

Founded in 2021 by Abhi Arora and Sanket Agarwal, Fleek is taking on the manual, fragmented and offline infrastructure powering the 200 billion US dollar second-hand industry with its proprietary AI-powered business-to-business marketplace and systems designed to digitise the second-hand supply chain.

Abhi Arora, co-founder and chief executive of Fleek, said: "Most people have no idea what happens to a piece of clothing after they part with it. It travels thousands of miles, gets sorted by hand in a warehouse in Karachi, and finds its way back to a vintage shop in London or New York, if it's lucky.

“We started Fleek because that system is broken, the market it serves is exploding, and nobody is building the technology and infrastructure to fix it."

Fleek: connecting the global second-hand fashion economy with AI-powered technology

At the centre of the platform is Fleek Sort, a custom vision language model trained on millions of second-hand marketplace transactions from Fleek’s global network over the past four years. The AI model, which is already used by graders in sorting hubs in Pakistan, India and Dubai, and in pilots launching in the UK, Europe and the US, identifies, categorises, grades and merchandises second-hand garments using photographs or videos from smartphones, and then turns a historically manual process into a digital workflow. As more inventory is graded, listed and sold through the platform, Fleek Sort continuously learns from real-world outcomes.

Once processed, inventory is automatically listed on Fleek's marketplace, where AI-powered pricing, search, recommendation and matching systems connect stock with relevant buyers around the world. Every transaction also generates additional data that improves the platform's understanding of second-hand inventory, creating a proprietary intelligence layer for the industry.

Julian von Eckartsberg, managing director of Europe at Burda Principal Investments, said: "We backed Vinted when second-hand fashion was still considered niche. We know what it takes to build a platform that scales in this market. From its growing supplier network to the technology behind it, Fleek is building the infrastructure the next generation of fashion will rely on."

Fleek connects vintage clothing wholesalers and retailers

With up to 24 billion second-hand clothing items moving annually through the global supply chain, Fleek states its AI-powered approach will help suppliers increase recovery rates, enable buyers to source inventory more efficiently and reduce the volume of wasted clothing.

To date, the company said it has kept more than 12 million items in circulation and has connected more than 2,000 verified wholesale suppliers and graders with over 50,000 retailers, resellers and boutiques across more than 100 countries.

Sanket Agarwal, co-founder and chief technology officer of Fleek, added: "There's more data locked inside the global second-hand supply chain than almost any other market, yet historically very little of it has been captured.

“We've built the world's first AI trained specifically to understand second-hand inventory, what it is, what it's worth, who wants it and where demand exists. Every transaction improves that understanding, creating an intelligence layer we believe will become critical infrastructure for the future of the industry."