In Pictures: Dries van Noten’s signature explored

In Pictures
Dries van Noten, SS23 Womenswear. Credits: Dries van
Noten

Antwerp-based designer Dries van Noten is stepping down as creative director
at his own eponymous fashion house in June. As such, the fashion
house, which was founded in 1986, has begun its search for a new creative
head. In light of the news, FashionUnited takes a look into Van Noten’s
design signatures as we wave farewell to the outgoing icon.


Van Noten was born with a love of clothes, a love that descended from
his grandfather and mother, who were tailors and designers at heart. His
family immersed him in the craft and skills of fabrics, which enthused him
about the power of flair and style for men and women. Van Noten set out to
explore the subjectivity of 'beauty' and the role it would play in his
life.


His research manifests itself in designs with luxurious layers in an
eclectic range of colours, textures and prints that define the
Antwerp-based designer's romantic feel. Van Noten sees a garment as an item
that speaks for itself but is part of a larger story; firstly a designer's
vision for a collection, secondly as part of the wearer's expression.


Van Noten derives pleasure from creating a garment that combines and
balances beauty, craftsmanship and function. In doing so, the garment
should be wearable and should still be part of someone's life story after a
while. Van Noten juggles colours, textures and light.


Dries van Noten’s signature style in 20 pictures


Dries van Noten, SS19 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, SS19 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, FW19 Ready to Wear. Credits:
©Launchmetrics/spotlight Dries van Noten, SS20 Ready to Wear. Credits:
©Launchmetrics/spotlight Dries van Noten, SS20 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, FW20 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, FW20 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, SS23 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, FW23, Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, DW24 Ready to Wear. Credits:
©Launchmetrics/spotlightDries van Noten, FW24 Ready to Wear. Credits:
©Launchmetrics/spotlight Dries van Noten, FW24 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, SS24 Menswear. Credits:
©Launchmetrics/spotlight Dries van Noten, FW23 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, SS23 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, FW20 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, SS20 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, FW19 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, SS19 Menswear. Credits:
©Launchmetrics/spotlightDries van Noten, FW18 Menswear. Credits:
©Launchmetrics/spotlight


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Gucci sales down 20 percent in first quarter after slowdown in Asia

Gucci's Milan flagship Credits: Gucci



Gucci’s sales have taken a tumble in the first quarter of 2024, falling 20 percent according to Kering’s forecasts. The transition of the house under a new creative director and commercial strategy required a phasing in of new product as well as updating store design. Kering said early customer response to Sabato De Sarno’s new Gucci was largely positive.


As sales slowed down in Asia Pacific, both Gucci and parent Kering have been more susceptible to regional consumer demand than perhaps other luxury brands and groups. The overall forecast for the group’s revenue is estimated to be down 10 percent compared to Q1 last year.


De Sarno’s debut collection, Ancora, has only been in store since mid-February, with Kering stating availability will gradually be ramped up over the coming months.


In a preliminary statement Kering did not highlight revenue from other houses such as Saint Laurent, Balenciaga or Bottega Veneta. The latter is thought to have been reducing its wholesale channel to focus on DTC sales, which will also impact turnover.


Balenciaga is still in recovery more from its advertising faux pas last year, winning back customers who are yet to return to the brand.


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Item of the week: the leather-look pants

Mexx, Mart Visser and Na-kd. Credits: FashionUnited
Marketplace.

What it is:




A staple of the autumn/winter 2024 season is evidently the leather-look
pants. They were so common on fashion week runways, in fact, that they
extended beyond their typically attributed category of ‘edgy’ daywear to
become both that and a piece of more formal attire by brands that
experimented with more elevated iterations of the look. This saw them come
in the form of everything from mom jean silhouettes to lace up flares to
more tailored shapings, making the breadth of the style far-reaching.
Karl Largerfeld. Credits: FashionUnited Marketplace.


Why you’ll want it:




For the colder months, such trousers are an essential part of keeping warm,
with alternative leathers being a good insulation material for the wearer.
As such, the leather-look trouser is both functional as a warm layer and
stylish, giving it an added appeal to shoppers looking for both in their
wardrobe. Not only this, but its presence for the season was defined by an
extensive range in shapes and cuts, allowing the pants to transcend
categories. This means they can be suitable for both evening wear and
formal occasions alike, further expanding on their offer.
French Connection. Credits: FashionUnited Marketplace.


Where we’ve seen it:




As mentioned, the leather-look trousers were everywhere for the coming
autumn/winter season. Styles ranged from entirely lace-up fronts, as seen
on the runway of Dilara Findikoglu, to more sleek, clean-cut iterations,
such as 16Arlington’s turquoise mom jean style. Others stuck more closely
to the leather pants’ rock aesthetic foundations, present in the
collections of Knwls and Huishan Zhang, both of whom offered up heavily
stone-washed materials. Similarly, Marques’Almeida also presented a style
reminiscent of motorbike attire, seen in the use of buckles and prominent
zippers.
Dorothee Schumacher. Credits: FashionUnited Marketplace.


How to style it:




It is this rock/motorbike style that can be adopted to formulate an outfit,
if the consumer is responsive to such a look. Here, take cues from eras
past, adding grungy vests under oversized leather jackets, a look that can
be tied together with chunky boots. If shoppers are looking for a more
casual approach to the leather pants, pair the style with a chunky,
cable-knit jumper and a long-line camel coat. This outfit can be rounded
out either with basic sneakers or strappy heels, depending on what the
occasion calls for.
Pieces. Credits: FashionUnited Marketplace.



The leather pants are a practical yet stylish winter wardrobe item that
have adapted to become cross-category and therefore widely appealing. The
further increased access to animal-friendly alternatives also provides
shoppers with a piece that caters to their values, offering a more ethical
approach to their purchase.
Humanoid. Credits: FashionUnited Marketplace.





Similar items available for (pre)order can be found in the FashionUnited
Marketplace. You
can find them by clicking on this link.


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Timeline: Dries van Noten’s career in a nutshell

Dries van Noten FW23. Credits:
©Launchmetrics/spotlight


The end of an era: Dries van Noten is stepping down as creative director at his
eponymous fashion house, and the search for his successor has already
begun. FashionUnited presents a little refresher when it comes to Van
Noten's career.


1958




Dries van Noten is born in Antwerp into a family of tailors.


1977




Van Noten attends the Royal Academy of Fine Arts in Antwerp. Here, Van
Noten meets Walter van Beirendonck, Marina Yee, Dirk Bikkembergs, Dirk van
Saene and Ann Demeulemeester. These six will later become known as 'The
Antwerp Six'.


1981




Van Noten completes his fashion design studies at the Royal Academy of Fine
Arts in Antwerp.


1986




The designer debuts his first collection under his own name. The menswear
collection is sourced by department stores Barneys in New York and Whistles
in London.


1987




A year after founding his own fashion house and debuting menswear,
womenswear is also added to the range.
Dries van Noten SS24, ready-to-wear. Credits:
©Launchmetrics/spotlight

1989




The fashion house opens its very first mono-brand shop in 1981. It does so
in 'Het Modepaleis', a historic building in Antwerp and a former department
store. The shop remains an important place for the fashion house to this
day. The brand has a total of five floors at its disposal.


1993




This is the year when Dries van Noten makes his debut at Paris Fashion
Week. Since his debut, the designer has shown a women's collection and a
men's collection twice a year in the French capital.


2004




One of Van Noten's most famous shows is his 50th show. The presentation is
given on a large table, set for 500 guests. Those who think this is a
pre-show dinner are wrong. In fact, the models step onto the tables.
Dries van Noten, FW19 menswear. Credits:
©Launchmetrics/spotlight

2014




The designer will be honoured with an exhibition at the French museum Musée
Des Arts Décoratifs in Paris. The exhibition called 'Inspirations' zooms in
on the designer's inspiration. It is the first time in the French museum's
history that a Belgian designer has been in the spotlight.


2017




What is a great designer without a documentary of his own? In 2017, the documentary 'Dries' will be released.
Documentary filmmaker Reiner Holzemer follows the designer for a year,
giving insight into Van Noten's life and creative mind and heart.


2018




Spanish luxury conglomerate Puig takes a majority stake in fashion house
Dries van Noten. The designer retains a minority stake and remains creative
director and chairman of the board.
Perfumes by Dries Van Noten. Credits: Dries Van
Noten

2022




Under the wings of luxury group Puig, which has experience in the cosmetics
sector, the fashion house is stepping into beauty. The brand
will launch 10 gender fluid perfumes, 30 lipsticks in refillable sheaths
and another set of accessories.


2023




The fashion house will open a shop entirely dedicated to perfume, beauty
and accessories in Paris. This is the first time the fashion brand has done
so.


2024




Dries van Noten steps down from his own fashion house. A
successor to the iconic Belgian designer is still being sought. "I've been
preparing for this moment for a while and I feel it's time to leave room
for a new generation of talents to bring their vision to the brand," the
Belgian designer shares in a statement.


This article originally appeared on FashionUnited.NL.
Translation and edit by: Rachel Douglass.


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Castore to market Umbro in the UK and parts of Europe

Umbro Professional Team Sports - West Ham Credits: Umbro Professional Team Sports



British sportswear brand Castore has signed an exclusive deal with Umbro licensee GL Dameck for the Umbro Professional Team Sports sub-license, allowing Castore to market the Umbro brand in the UK, Germany, Austria, Switzerland, Belgium, Netherlands and Denmark.


In a statement, Castore said the deal will continue its strategy to build its presence in the sports market and will see the brand having exclusive right to seek to work with Umbro’s existing English Premier League team partnerships, including AFC Bournemouth, Brentford, Luton Town and West Ham, as well as English Football League Clubs Ipswich Town, Huddersfield Town and Forest Green Rovers from the start of the 2024/25 season.


Castore will also supply, under the Umbro brand, to Heart of Midlothian in the Scottish Premiership, where Castore is already the global kit partner for Glasgow Rangers FC and England Rugby men’s and women’s teams. The brand already supplies Bath Rugby, Saracens and Harlequins with kit in Premiership Rugby.


Tom and Phil Beahon, founders of Castore, said: “We are delighted to bring together Castore’s innovative digital platform and investments in supply and distribution with one of football’s great heritage brands in Umbro to reach a new generation of fans.


“Umbro is a global brand which is woven into the heart and soul of football culture, and this deal represents the first step in the next chapter of Castore’s continued progress.”


Ewan Scott, chief executive and joint founder of GLD, added: “We are delighted to partner with Tom, Phil, and their team in this groundbreaking elite sports relationship. Castore’s technology-led approach combined with Umbro’s century of authenticity in sports enables both partners to increase visibility on the field of play, whilst providing consumers with first class kit design and innovation.”


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Scholl Shoes names Andrea Collesei CEO

Credits: Scholl Pescura, courtesy of the brand



Footwear brand Scholl Shoes has announced the appointment of Andrea Collesei to the role of chief executive officer, a position he will step into this week.


The move was announced in a statement to WWD by Tobias Klaiber, who Collesei is to succeed and who will continue on as managing director at investment firm Aurelius Group, which acquired Scholl in 2014.


Speaking to the media outlet, Klaiber said that Collesei’s appointment comes at a time when Scholl has experienced rapid expansion and is currently operating with a “strong partner and distribution network”.


He added: “We are building new markets such as Asia and the Middle East, expanding our management team and launching the spring/summer 2024 season fueled with new designs and technologies.”


Collesei joins the brand from the OTB Group, where he was most recently the general manager of Jil Sander, prior to which he served as CEO of Viktor & Rolf.


Speaking on his tasks for the new position at Scholl, Collesei told WWD that he is planning to continue building the distribution network for the brand, alongside the backing of marking activities designed to strengthen the brand positioning.


He continued: “I’ve always been working with brands that have a very strong heritage, and a very strong perspective on design — bringing them to the next level in terms of size, growth and also international development. There is a unique opportunity to develop this strong heritage brand in the fashion world.”


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Balmain CEO steps down after four years

Balmain, Off Season 2024, Resort Women. Credits: Spotlight Launchmetrics.



Jean-Jacques Guével has stepped down from his role as chief executive officer of Balmain after four years in the helm position.


According to a statement issued to WWD from the French fashion house, his exit comes as he looks to “pursue other interests”, yet his next role was not immediately clear.


To the media outlet, Guével said: “Balmain is one of the oldest luxury houses in Paris, with a unique and rich heritage. It has been an incredible journey leading this house through the last years and setting it for further future growth.”


The brand’s chairman Rachid Mohamed Rachid also thanked Guével “for his contribution to the success of Balmain”, wishing him “well in his future endeavours”.


Rachid continued: “Balmain has all the potential to become a true global luxury goods leader, thanks to its unique heritage, talented creative director Olivier Rousteing, and our exceptional colleagues in the brand.


“We will be building on the significant growth of the last years and will announce a new CEO in due course.”


Guével first joined Balmain in early 2020 after previously serving as CEO for Zadig & Voltaire, where he was tasked with accelerating the brand’s international expansion plans in the US and China.


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Digital or analogue: What technologies do brick-and-mortar stores need?

Givenchy store in Los Angeles Credits: Givenchy



Will a certain number of square feet actually generate the sales that hardened retail managers expect? Probably not. But it does not matter. After all, brick-and-mortar retail is merging with online retail and the role of stores has changed. They are no longer (only) responsible for sales, but also serve the need for convenience and destination.


The Bershka store in Milan is a good example of how technology and digital installations in physical retail stores can work. It offers ‘click & collect’ terminals in store windows, options for self-check-out (SCO), return drop-off points prominently located in the store and opportunities for influencers to produce content and thus act as multipliers.


Convenience






Ordering online often seems the easiest thing to do. However, misdirected parcel deliveries, delays, incorrect sizes and returns can also make online shopping time-consuming and costly. Easily accessible ‘click & collect’ terminals and return stations directly in the store can make the process easier. Prerequisite: they should not disrupt the flow of customers in the store and fit in with the overall look. Customers also feel heard because ‘pain points’ in the store are addressed - for example, long queues at the check-out can be avoided by self-checkout.


Self-checkout in Stradivarius' Stuttgart store. Credits: Inditex



Reservable changing rooms, interactive mirrors that can present colour variations and combination suggestions as well as the simple ordering of these additional items without having to leave the changing room are further technical integrations that increase convenience in the store and thus become more attractive for many target groups. Because in the end, the desired result for the customer is just one thing: getting the perfect outfit with little effort. And for the brand and the retailer: to sell as much as possible and ensure a return visit for the next purchase. In-store technology makes this possible - regardless of whether the actual purchase is made online or offline. This is why the use of technical interfaces connecting to a brand's online store is a must, especially for large chains.




Destination




When online and physical retail are seamlessly linked in the backend, sales per square foot are no longer the decisive factor. The store should be a ‘place of experience’, where the brand is met - transactions, on the other hand, can and should take place online, preferably with interfaces on site. The store should offer a unique experience, a place that makes multiple visits worthwhile. But even more importantly, it should give consumers a sense of community, the feeling of being part of a group of like-minded people. This can be incentivised in a variety of ways. Roughly speaking, however, they can be divided into three focus categories: events, 'Instagrammable' settings and community.


Adidas pop-up in Berlin. Credits: Adidas



If the store is to become the central hub of the brand community, it makes sense to create a target group-specific programme - from regular events to changing content campaigns and opportunities to connect with each other to memberships that offer special benefits - online and on site.




On the other hand, stores become attractive when they offer something extraordinary - either for direct sharing on social channels or through the opportunity to stage themselves for content. The target group acts as a multiplier and makes the location even more attractive for the respective peer group. Design, gamification and technology make it possible. The Bershka store in particular, with its prominent ‘click & collect’ tower, bold design and spacious changing rooms does this well. The latter offer plenty of space for self-dramatisation - changing light and music moods, room for the closest circle of friends, enough space to pose. Changing clothes is not a chore here but a celebration. An activity that is planned in advance and enjoyed. The store is no longer a transactional space, but creates emotions and experiences.


DJ Khaled's office / studio in the "We The Best x Snipes" store. Credits: Snipes



In Asia and the Middle East, malls that were thought to be dead are once again becoming destinations for the younger generation. Through digital twins of the buildings, target groups familiar with the mobile game Pokémon Go - where players travel in the real world to experience digital experiences in specific physical locations - can collect goodies and be directed to different shops through various incentives. Technology that inspires - across all target groups.


Does every store need this?




Not every store can, should and must utilise all technical possibilities. Quite the opposite. To put it simply: The smaller the shop, the less will technology pay off. Boutiques in particular distinguish themselves through their curated offer, by addressing a specific target group that seeks and honours precisely this service. ‘Click & collect’ and self-checkouts are less desirable here than a more curated selection and personal customer loyalty. Especially as there is usually less space available than in large high-street chains.




What applies to most, however, is that technology should be integrated to the extent that it meets and - ideally - exceeds the expectations and needs of customers. From a simple newsletter to inviting the community and drawing attention to the specially curated offer to interactive mirrors - there are plenty of options. The decision is up to each brand.




About the author




Torsten Dietz is managing director at Liganova, a leading group of companies for effective brand and retail experiences from idea to realisation - physically, digitally and virtually. He is responsible for global retail campaigns and sustainability solutions and thus for retail transformation, innovative POS solutions, international production and sustainability transformation. With over ten years of experience in international retail marketing and a keen sense of the changing retail landscape, he focuses on developing sustainable concepts for Liganova's clientele - global premium brands from the lifestyle, sporting goods, automotive, luxury, fashion and retail sectors.


This article was originally published on FashionUnited.DE. Edited and translated by Simone Preuss.




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Shein announces finalists of Shein X Global Challenge 2024

Amy Sala (left), winner of the Shein X Global Challenge 2023. Credits: Courtesy of Shein.



Chinese ultra fast fashion retailer Shein has announced the ten finalists for the 2024 edition of its international fashion design competition, Shein X Global Challenge, for emerging designers.


The 2024 finalists hail from seven different countries, out of which three of the ten finalists are from Brazil and two of them have the Italian nationality. They were selected from about 1000 submissions by designers from 70 countries.


The finalists are, in alphabetical order



* Amanda Marques Parron, Brazil

* Annavittoria Palma, Italy

* Eleonora Falcone, Italy

* Émilie Kissita, France

* Frenki Ceko, Albania

* Fungai Sarah Muzoroza, UK

* Juliana Cavalcanti de Siqueira, Brazil

* Kevon Albright, US

* Yolanda Silveira Fernandes, Brazil

* Yuto Nomura, Japan






These 10 finalists will travel to London where they will take part in a series of masterclasses organised by the judges of the competition, as well as a workshop on sustainable fashion. After this, they must present their submissions to the judges during the finals of the Shein X Challenge 2024.


The winner of the Shein X Global Challenge 2024 will be announced on 21 March 2024. They will receive 10,000 euros in prize money.


In addition, three more finalists will be selected by the jury. They will each be awarded 5000 euros in prize money for their creativity, innovation and how they represented the theme. A further six finalists will go home with 3000 euros each.


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UK luxury sector worth 81 billion pounds to the economy

Walpole/Savoir – luxury sector worth 81 billion pounds to the UK economy Credits: Walpole



The British luxury sector is now worth 81 billion pounds annually to the UK economy, supporting more than 450,000 jobs across various sectors, making it one of the top industry drivers of the economy, according to a new report from Walpole.


The ‘Luxury in the Making’ report from the industry body that represents more than 250 British luxury companies, produced in association with Frontier Economics, reveals that the UK’s luxury sector’s economic contribution is equivalent to 3.7 percent of GDP, which has grown 69 percent over the last five years to 2022.


The sector’s growth comes despite a challenging macro environment, including Britain’s departure from the European Union, the Covid-19 pandemic, supply chain issues and rising energy costs, adds Walpole, and has seen the UK luxury sector’s total exports increase by 45 percent in 5 years to 56 billion pounds.


Walpole also notes that the UK luxury sector, which is growing at a rate of 11 percent annually, has also helped the Exchequer raise 25.5 billion pounds in tax receipts. However, without tax reform and changes to intellectual property laws, the sector’s meteoric growth could stall.


British luxury sector could contribute 125 billion pounds a year to the economy by 2028




Helen Brocklebank, chief executive at Walpole, said in a statement: “We are delighted to publish our first study for five years, and the most comprehensive to date, demonstrating that the British luxury sector is valued at 81 billion pounds and vital to the UK economy.


“We have quantified the significant high-quality employment offered by the sector throughout every region in the UK across hospitality, retail and manufacturing. The UK luxury industry deserves recognition and support to ensure our high-growth sector continues to flourish.”


The report forecasts that by 2028, British luxury could be contributing 125 billion pounds a year to the economy, meaning the sector would be generating more revenue than the life sciences and construction industries, which are currently worth 97 billion pounds a year and 110 billion pounds a year, respectively.


Walpole – luxury sector worth 81 billion pounds to the UK economy Credits: Walpole/Savoir



Walpole is calling for tax reform and changes to intellectual property laws




Despite a strong outlook, Walpole states that there are several threats to the sector’s long-term prosperity, such as making changes to the UK’s Geographical Indicator (GI) regime. This set of intellectual property laws are granted to produce-based products that have a specific link to the place where they are made; an example of a product protected by such laws is scotch whisky. While the current regime currently applies to food and drinks, Walpole is calling for laws to be extended to include non-produce-based craft products, like Savile Row tailoring or Staffordshire pottery.


Walpole is also calling on policymakers to shape a tax and regulatory system that supports high-quality employment. The trade body is warning that this month’s Spring Budget was a missed opportunity to reintroduce VAT-free shopping for international visitors. It adds that failure to introduce a new scheme would cause “the UK miss out on potential growth, tax receipts and employment opportunities”. The Association of International Retail estimates that retailers will lose 1.5 billion pounds per year to tax-free EU competitors.


Reforms to the apprenticeship levy and more investment into teaching modern foreign languages are also being called for by Walpole and its members, which include the likes of Alexander McQueen, Burberry, Harrods, Fortnum & Mason and Jo Malone.


Automotive, food and drink, and fashion sectors drive growth in British Luxury




The UK’s high-end automotive sector, which includes companies like Aston Martin, Jaguar Land Rover, Rolls Royce and Bentley, was British luxury’s standout performer between 2017 and 2022. Over the last five years, the sector achieved turnover totalling 32.9 billion pounds. This is more than double the amount of the second-best performer, food and drink, which reported a turnover of 12.02 billion pounds.


Luxury fashion and accessories came in third for turnover, achieving 9.93 billion pounds, closely followed by retailers and e-tailers with 8.66 billion pounds in turnover. Beauty, wellness and grooming was sixth with 3.37 billion pounds, while jewellery, watches and precious metals reported 3.12 billion pounds in turnover.


Michael Ward, chairman at Walpole and managing director of Harrods, added: “British luxury has shown incredible resilience and strength over the past unprecedented few years. Since our last report, published in 2019, the sector has faced many challenges – namely the effects of Covid-19 lockdowns across the world, establishing new trading relationships with the EU, greater fragmentation in global trade, and the scrapping of the VAT Retail Export Scheme.


“Despite this, I am immensely proud Walpole, with this comprehensive report, has demonstrated how critical the UK’s luxury sector is to our economic and cultural life, and more than that, that is one of the most vibrant and high-growth industries of the future.”


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Fashonphile secures assets of pre-owned luxury distributor

Credits: Fashionphile



Resale platform Fashionphile has said it has purchased the assets of Montreal-based Two Authenticators Inc. (2a), a wholesale distributor of authenticated, pre-owned luxury goods.


As part of the deal, co-founder and CEO of 2a, Fred Mannella, will join Fashionphile as senior vice president of wholesale, and will report to the platform’s own co-founder and CEO, Ben Hemminger.


Fashionphile had already established a relationship with Mannella back in 2023, when it acquired the executive’s other firm LXRandCO, inc, where he was co-founder and chief development officer.


This latest acquisition, however, looks to further the company’s efforts to expand its B2B wholesale offering and omnichannel operations on an international scale.


In a release, Hemminger said: "We continue to be excited about the opportunity to diversify our omnichannel operations and enter the secondhand wholesale market in the US and internationally.


"By acquiring 2a and adding Fred Mannella to our team as one of the world's leading luxury vintage experts, we are well positioned to enter this new phase of growth as we look to provide trusted, authenticated, branded accessories to all sectors of the growing market for secondhand luxury."


Founded in 2021, 2a was established to support luxury vintage retail B2B operations in Canada and the US, and currently counts more than 20 partners across various channels.


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BestSecret Group achieves FY23 revenue growth of 16.7 percent

BestSecret webpage Credits: BestSecret



BestSecret Group, a European destination in off-price fashion, achieved FY23 revenues of 1,226 million euros for the year, a 16.7 percent increase.


The company said in a statement that the growth was driven by an increase in the number of active customers combined with robust order economics and a successful international expansion.


The company added that the primary driver for growth was the international segment, which contributed 39.9 percent to the overall revenue of the Group. The segment achieved revenues of 489.2 million euros, which represented a 36.7 percent year-on-year growth. Germany generated revenues of 736.8 million euros, up 6.3 percent.


BestSecret realised adjusted EBITDA of 183.7 million euros, marking a 33.4 percent improvement over the comparable prior year, while adjusted EBITDA margin improved to 15 percent in FY 2023.


BestSecret further said that the positive operational impact came from a more favourable purchasing environment, an increased share of margin accretive brands in the assortment due to the successful implementation of the company’s Elevation Strategy, and the expanded fulfilment centre network, especially in the fourth quarter.


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Ulta Beauty posts 2.5 percent increase in Q4 comparable sales

Ulta Beauty concession in Target Credits: Ulta Beauty



Fourth quarter net sales at Ulta Beauty increased 10.2 percent to 3.6 billion dollars due to increased comparable sales, new store performance, strong growth in other revenue, and the benefit of an extra week of sales in fiscal 2023.


Comparable sales increased 2.5 percent, driven by a 4.5 percent increase in transactions and a 1.9 percent decrease in average ticket.


Net sales increased 9.8 percent to 11.2 billion dollars in 2023, while comparable sales increased 5.7 percent, driven by a 7.4 percent increase in transactions and a 1.5 percent decrease in average ticket.


“We closed out a strong 2023 with better-than-expected fourth quarter financial performance. Our compelling holiday plans and thoughtfully curated assortment resonated with our guests and delivered healthy traffic, record brand awareness, and strong member growth,” said Dave Kimbell, the company’s chief executive officer.


Ulta Beauty’s results in Q4 and 2023




The company’s fourth quarter gross profit increased 10.6 percent to 1.3 billion dollars and as a percentage of net sales, gross profit increased to 37.7 percent. Operating income increased 15.5 percent to 517.1 million dollars or 14.5 percent of net sales.


Net income for the quarter increased 15.7 percent to 394.4 million dollars and diluted earnings per share increased 21 percent to 8.08 dollars.


Full year gross profit increased 8.3 percent to 4.4 billion dollars and as a percentage of net sales, gross profit decreased to 39.1 percent.


Operating income increased 2.4 percent to 1.7 billion dollars in 2023, net income increased 3.9 percent to 1.3 billion dollars and diluted earnings per share increased 8.4 percent to 26.03 dollars.


Ulta Beauty plans 4 to 5 percent comparable sales growth for FY24




For fiscal 2024, the company forecasts net sales in the range of 11.7 billion dollars to 11.8 billion dollars, comparable sales to increase between 4 to 5 percent, operating margin in the range of 14 percent to 14.3 percent, and diluted earnings per share between 26.20 dollars to 27 dollars.


At the end of the fourth quarter, the company operated 1,385 stores.


“We are excited to announce the formation of a joint venture with Axo, a highly experienced operator of global brands, to launch and operate Ulta Beauty in Mexico in 2025,” added Kimbell.


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Texhibition Istanbul March 2024 focuses on denim and a move upmarket

Texhibition Istanbul March 2024 Credits: F. Julienne



In pictures


From 6 to 8 March 2024, Texhibition Istanbul brought together 25,752 visitors from 112 countries and 560 exhibitors of fabrics and accessories for the spring/summer 2025 collections. The fifth edition of the fair offered the opportunity to discover the most important materials produced by Turkish companies as well as a new denim area. It was also a chance to get to know the perspectives of stakeholders in the Turkish textile sector and to recognise that the mid-price segment it serves is having a tough time in many countries.


The fact that Turkey has its own sourcing fair is remarkable. Before the Covid pandemic, the French trade fair Première Vision was held in Istanbul, but since then the Turkish players have taken on this task themselves and the Istanbul Textile and Apparel Exporters Association (Ithib), a member of the Turkish Fashion and Textile Association Itkib, organises the fair. The stakes are high for the country, which has integrated production capacities that enable it to carry out all (or almost all) production steps in the textile and clothing industry, unlike other production countries such as Tunisia or Morocco.


Texhibition Istanbul March 2024, digital animation by Kerim Dündar Credits: F. Julienne



Signifying the importance of the trade fair was the presence of many officials at the opening ceremony on Wednesday, 6th March, including trade minister Ömer Bolat, the chairman of the Turkish Exporters Association Mustafa Gültepe and Ithib chairman Ahmet Öksüz. A predominantly male representation of the profession, as the photo shows. The gentlemen announced their intention of making the trade fair “the most important in the world”.


At the inauguration of Texhibition Istanbul Credits: F. Julienne



All speakers cited figures to illustrate the influence of the Turkish textile and apparel sector, which achieved a total export value of 28.5 billion US dollars in 2023. With annual exports of 12 billion US dollars, the Turkish textile sector ranks fifth in global exports and is the second largest supplier to the European Union.


Although Europe is the biggest market with Turkey manufacturing for brands such as Zara, Mango and H&M, the rampant economic crisis is prompting the country to look for alternative destinations: USA, Mexico, Middle East or Russia (circumventing the current restrictions).


Texhibition Istanbul March 2024 Credits: F. Julienne



What materials are part of the fabrics produced in Turkey?




At Texhibition Istanbul, the displayed materials were organised in different halls: Hall 4 featured 145 suppliers of knitted fabrics such as jersey, jacquard and wool; Hall 5 showcased 126 suppliers of polyester, polyviscose, viscose and acrylic; Hall 6 brought together 70 suppliers of wool, cotton and shirting fabrics while 121 manufacturers of accessories such as buttons, zips and the like as well as yarns could be found in Hall 8. With regard to cotton yarns, the above-mentioned “almost” applies: Turkey produces 65 percent of its cotton domestically and imports the rest mainly from the USA, Greece and Egypt.


This time, Texhibition also included Hall 7, which was dedicated to the new “Blue Black Denim Trend Area”, a denim area newly opened for the spring/summer 2025 season. It offered original presentations with streetwear creations showcased in a construction site aesthetic.


Blue Black Denim Trend Area, Texhibition Istanbul March 2024 Credits: F. Julienne



Creation by Alldenims, Texhibition Istanbul March 2024 Credits: F. Julienne



In this context, the spectacular dress made from jeans waste (see above), which was designed by Alldenims, is worth mentioning. The company, which is one of the few run by two women, produces denim clothing for an international clientele and also develops its own brand Syga.


Alldenims boothCredits: F. Julienne



In this space (and not only here), exhibitors talked much about sustainable fashion. Besim Özek, member of Ithib and head of business strategy at Bossa, was one of them. The southern Turkey-based denim manufacturer emphasised how important it is for the country to position itself in the denim sector and take on social and environmental responsibility in the process. It uses 45 percent traditional cotton, 35 percent recycled cotton (from collected cotton clothing), 15 percent organic cotton (grown without chemical fertilisers or pesticides) and 5 percent regenerative cotton (agricultural practices that naturally improve soil quality and restore soil fertility).


Bossa booth. Credits: F. Julienne



Trend forums focus on sustainable development and increasing the materials range




Speaking of sustainability: FashionUnited met Pascaline Wilhelm, the former fashion director of Première Vision and current founder of the P W N E W agency, in the Innovation Hub (Hall 8), where numerous presentations took place. The aim? To deliver the key trends for Spring/Summer 2025, including innovations and news regarding sustainable and eco-friendly developments. The focus was on bio-based fabrics, biodegradability, natural stretch, new recycled materials and others, highlighting concepts such as waste, overconsumption and its impact.


Trend presentation spring/summer 2025 by Pascaline Wihelm Credits: F. Julienne



Hub Innovation Texhibition Istanbul March 2024 Credits: F. Julienne



Other areas such as the Trends Creative Hub for knitwear and wovens also emphasised the concept of sustainability, but combined with a premium approach. With “Silent Luxury” (knitwear, Hall 4), the Luxury Hub, which stands for niche tastes, approached fashion from the perspective of “minimalism of a new age” and emphasised elegance, high-quality materials (virgin wool, cashmere, cotton and wool), exclusivity, uniqueness and craftsmanship.


Luxury Hub, Texhibition Istanbul March 2024 Credits: F. Julienne



At the same venue, “Vegan Jungle” referred to innovative processes derived from plants, fruits and seeds that offer a range of recycled materials that can be biodegradable.


Vegan Jungle, Texhibition Istanbul March 2024 Credits: F. Julienne



In the woven goods area (Hall 5), “The Talented Mr Ripley,” based on the US remake of the French film “Plein Soleil”, a summer tragedy set in the world of luxury and laziness, referred to the film’s stylish wardrobe: knitted ties, cashmere sweaters, elegant linen shirts and chinos (cotton twill trousers).


Luxury Hub, Texhibition Istanbul March 2024 Credits: F. Julienne



Luxury Hub, Texhibition Istanbul March 2024 Credits: F. Julienne



Does this mean that the Turkish textile and clothing industry wants to position itself in the upper price segment? Fatih Zengin, deputy secretary general of Itkib, confirmed in an interview with FashionUnited that the industry wants to move upwards in light of the collapse of the mid-price segment, which consists of polyester produced in Turkey. This slump was due to the pandemic, lockdowns, inflation and the war in Ukraine.


In his opinion, the country is now a direct competitor to Portugal, but the challenge is to position itself at the same level as Italy. “We want to be a country that makes fashion and create our own brands,” he concluded. At the next edition of Texhibition that takes place from 11th to 13th September 2024, we will see how the range of materials develops.


This article was originally published on FashionUnited.fr. Edited and translated by Simone Preuss.


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Safilo 2023 profit plunges 76 percent

Safilo Credits: Safilo media centre



Safilo Group closed the year 2023 with net sales of 1,024.7 million euros, down 2.3 percent at constant exchange and 4.8 percent at current exchange rates. Its full-year adjusted net profit declined by 76 percent to 14 million euros, while its adjusted core profit stood at 92 million euros, down 9.1 percent year on year.


In the year, the company said in a release, organic sales recorded a deviation of 1.3 percent, further approaching the level of revenues recorded in the previous year, despite the headwinds represented by the continuing weakness of the North American market, and the over 60 percent drop in revenues recorded in the former GrandVision chains.


In the fourth quarter, Safilo’s net sales stood at 239.6 million euros, up 2 percent at constant exchange but down 2.4 percent at current exchange rates and net of sales in the former GrandVision chains increased 3.6 percent.


Commenting on the company’s results, Angelo Trocchia, Safilo chief executive officer, said: “In a complex year like 2023, in which a tense and unstable geopolitical and macroeconomic environment added to our direct challenges, it was particularly important for us to achieve a level of revenue very close to the strong performance recorded in 2022, when growth, compared to pre-pandemic 2019, was 12 percent. ”


Review of Safilo’s 2023 and Q4 results




In 2023, Safilo’s sales in North America amounted to 452.9 million euros, down 6.4 percent at constant exchange and 9 at current exchange rates. Sales in Europe stood at 411.8 million euros, down 0.6 percent at constant exchange and 3.1 percent at current exchange rates.


In the year, sales in Asia Pacific reached 59.9 million euros, up 9.1 percent at constant exchange and 3.9 percent at current exchange, while in the Rest of the World at 100.1 million euros, increased 3.9 percent at constant exchange and 3.8 percent at current exchange rates.


The company added that key drivers of the positive performance were Boss, Ports and Polaroid in China and Hong Kong, and the strong development of Smith in both Australia and Japan, while Carrera and Tommy Hilfiger were the drivers of the double-digit growth recorded in the year by India and the Middle East.


In 2023, adjusted gross profit equalled 601.8 million euros, slightly up by 0.7 percent, while the adjusted gross margin improved by 320 basis points to 58.7 percent, adjusted EBITDA equalled 92 million euros and a margin on sales of 9 percent, down respectively 9.1 percent and 40 basis points compared to 2022.


The adjusted operating result equalled 49.6 million euros and a margin on sales of 4.8 percent, down respectively 7.4 percent and 20 basis points. The Group's adjusted net result, equal to 14 million euros, was down 76 percent.


Highlights of Safilo’s Q4




Safilo further said that the fourth quarter was characterised by the improved trends of the North American market, where sales stood at 111.9 million euros, up 3 percent at constant exchange and down 2.2 percent at current exchange due to growth of Blenders and Smith in their DTC channels.


In Europe, sales in the quarter, equal to 90.7 million euros, were back to a positive performance, up 2.5 percent at constant exchange and down 1.7 percent at current exchange rate.


On the emerging markets front, the Group's sales recorded Asia and Pacific sales of 16.2 million euros and a growth of 4.5 percent at constant exchange and drop of 0.9 percent at current exchange rates, while revenues in the Rest of the World, equal to 20.8 million euros, recorded a decline of 6.6 percent at constant exchange and 7.5 percent at current exchange due to a challenging comparison base for the Brazilian market. On the other hand, the main markets in the Middle East continued to grow in the quarter.


In the fourth quarter, Safilo's adjusted gross margin improved to 59.5 percent, adjusted gross profit amounted to 142.6 million euros, up 2.4 percent and adjusted EBITDA was equal to 16.5 million euros and a margin on sales of 6.9 percent, up respectively by 3.8 percent and 40 basis points.


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