Executive changes at IED: Danilo Venturi to manage Milan office, new director in Florence

Left: Danilo Venturoni, director, IED Florence. Right: Francesco Gori, CEO, IED Group. Image for illustrative purposes. Credits: courtesy of IED.



Fashion and design school IED has announced changes to the management of two of its main locations. In the context of its development plan, the Italian institution has named Danilo Venturi director of IED Milan, with Benedetta Lenzi set to occupy the Florence office Venturi has been managing since 2022.


Danilo Venturi comes from a multidisciplinary background and has broad experience in fashion and education, as per a news article on the IED website. At IED Florence, the executive has carried out IED’s expansion strategy that allowed the Florence office to extend its campus and create multiple locations throughout the city.


It all started with the historic headquarters in Florence’s Via Bufalini. In 2023, the fashion workshop at Palazzo Pucci was added and more recently IED opened the Polo delle Arti Digitali e Visive in the spaces of the former Teatro dell'Oriuolo.


Benedetta Lenzi has more than 15 years of professional experience with the art and design system. She will focus on further expanding the international reach of the Florence office.


IED: Danilo Venturi new head of Milan office, Benedetta Lenzi to manage Florence




The IED Group's expansion plan also involves the historic Milan headquarters and its development in the area to be redeveloped in the Ex Macello where the future IED international campus will be built.


The Istituto Europeo di Design has a well-established presence in Milan, the city where it was founded and ‘where a dialogue with the creative, entrepreneurial and institutional fabric is present’, the news article reads.


In addition to the school being involved in important city events such as the Salone del Mobile and Fuorisalone, Milan Fashion Week, Milan Digital Week and PianoCity to name but a few.


Commenting on the news in a release, Danilo Venturi, said: “In the IED educational model, art inspires, design contributes to design sense, fashion creates identity awareness and communication has an impact on society. Each sector benefits from the other.”


He continued: “This is what happens between the IED Group's locations: in the permanent dialogue between Milan, Florence, Rome, Turin, Cagliari and with Madrid, Barcelona and Bilbao, the exchange and benefit are reciprocal and continuous, this model keeps the system alive and allows it to always respond to new challenges.”


“Accepting the direction of the Milan office means continuing a project path begun in Florence and at the same time preserving an interdisciplinary and transdisciplinary training model and pursuing an international ambition,” the new director of IED Milan said.


Benedetta Lenzi added on her part: “‘I am honoured to have been called to join the team of the European Institute of Design and to be able to give my contribution to a group that is confirmed as one of the most innovative realities in the international design scenario.”


“Directing IED Florence, which is based in a unique cultural context, will be a continuous source of inspiration,” she continued.


“I therefore consider it strategic to continue to strengthen relations with the territory, with institutions, the art museum sector and the textile industry, making the creativity and talents of our students available to them to network towards new projects,” she conclude


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Former Harrods boss accused of sexual assault in new exposé

Harrods 175th-anniversary celebration Credits: Harrods



Over 20 women have come forward as part of a BBC exposé alleging that they were sexually assaulted by former Harrods boss Mohamed Al Fayed, who passed away at the age of 94 last year.


Note: This article contains brief descriptions of sexual assault that some may find disturbing


In a newly released documentary and podcast, ‘Al-Fayed: Predator at Harrods’, the BBC unveiled evidence of allegations against the late boss, with testimonies from over 20 female ex-employees, five of which said they were raped by Fayed while others stated they were sexually assaulted.


Those included in the exposé detailed how the former Harrods owner would tour the department store’s sales floors, identifying young female assistants who would then be promoted to work in the offices upstairs. Reported incidents then took place in London, Paris, St Tropez and Abu Dhabi, either at the Harrods’ offices, in Fayed’s own apartment or on overseas trips.


“Mohamed Al Fayed was a monster, a sexual predator with no moral compass whatsoever,” said one of the anonymous victims, who had been a teenager at the time Fayed had allegedly raped her. “We were all so scared. He actively cultivated fear. If he said ‘jump’ employees would ask ‘how high’.”


Fayed had previously faced sexual assault claims while he was still alive, yet he had avoided legal action. In 1997, for example, ITV programme ‘The Big Story’ had broadcasted testimonies from former Harrods employees in which it was claimed that Fayed had sexually harassed women. A similar story was later at the centre of a 2017 Channel 4 Dispatches episode, when Fayed was described to have “groomed” his victims.


In 2008, he had also faced questioning from the Metropolitan Police after an allegation of sexual assault against a 15-year-old schoolgirl. The case was ultimately dropped by the Crown Prosecution Service.


Since the release of the BBC exposé, Harrods’ current owners have responded to its contents, telling the media outlet they were “utterly appalled” by the allegations and that Fayed’s victims had been failed.


The statement continued: “The Harrods of today is a very different organisation to the one owned and controlled by Al Fayed between 1985 and 2010, it is one that seeks to put the welfare of our employees at the heart of everything we do.”


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Chubbies names George Kittle as creative director of football

George Kittle wearing Chubbies limited edition collection classic swim trunks Credits: Chubbies



American casualwear brand Chubbies, which describes itself as the weekend-centric lifestyle apparel brand within the Solo Brands portfolio, is launching licensed NFL apparel with San Francisco 49ers tight end George Kittle as creative director.


In a statement, Chubbies said it is expansion into sports-inspired apparel with the NFL will be led by Kittle, who will serve as a brand ambassador, lead design efforts and drive its strategy for its NFL apparel collections as creative director of football.


The move expands Chubbies relationship with Kittle, who signed a partnership deal with the casual lifestyle brand in January 2023 as a brand partner and collaborator. He has released two collections featuring sports shorts, graphic tees, polos, and swim trunks.


Commenting on the new role, Kittle said: "I've loved every moment of working with Chubbies over the past two years and am thrilled to take on this additional new role.


"This partnership perfectly fuses my on-field dedication with my off-field creative passion. I can't wait to bring our shared vision to life and connect with fans in an exciting new way."


Chubbies said its NFL collaboration will combine “its signature fun style with Kittle's unparalleled passion and energy for the game,” and fans can expect a range of NFL merchandise dropping this autumn, featuring apparel from select teams “that reflect the fandom of the Chubbies' community”.


The collection will expand to include all NFL teams in spring 2025.


Rainer Castillo, co-founder and president of Chubbies, added: "George has brought an electrifying energy to our brand. Evolving our partnership with him while teaming up with the NFL is an exciting new chapter for us. We're eager to leverage his distinct style and our brand's creativity to deliver something truly special for fans."


Chubbies’ deal with the NFL follows its multi-year licensing deal with Team USA and Olympic Heritage, announced in July. The collaboration began with Paris 2024 and will continue through to the LA 2028 Olympics.


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SCAD appoints Hermès Americas chairman as university’s executive in residence

Robert Chavez, executive chairman of Hermès Americas and executive in residence for SCAD. Credits: SCAD.



The Savannah College of Art and Design (SCAD) has named Robert Chavez its executive in residence, a role he will assume immediately as the university heads into its 2024/25 academic year.


In this position, Chavez, who is the current executive chairman of Hermès Americas, will travel to the three SCAD locations – Savannah and Atlanta, Georgia, and Lacoste in France – to visit classes, review portfolios and offer mentorship to select students.


He will also work with SCAD leaders on reviewing assignments and developing new curriculum for the SCAD De Sole School of Business Innovation and the SCAD School of Fashion.


In a release, SCAD chief academic officer, Jason Fox, said: “Bob Chavez is a visionary leader in the international luxury space and a longtime champion of SCAD who will bring tremendous expertise and insights to the university’s esteemed academic programmes.


“We are honoured to have Bob serve as executive in residence and engage deeply with talented SCAD students across an array of disciplines. He is committed to SCAD’s mission to prepare talented students for creative professions.”


Chavez’s new role expands on his current relationship with SCAD, for whom he has been a long-time friend of the university and champion of its students. In 2019, SCAD had already recognised Chavez’s ties to the institution by awarding him with an honorary degree for human letters.


SCAD said this added presence emphasised the university’s “curricular preeminence” in a number of disciplines, including luxury and brand management, creative business leadership and design management.


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Zegna Group revenues increase but profit dips

Zegna store in New York Credits: Zegna



Ermenegildo Zegna Group’s profit declined to 31.3 million euros in the first half period and adjusted EBIT to 80.9 million euros compared to the previous year.


Revenues for the period of 960.1 million euros, were up 6.3 percent but down 2.7 percent on an organic basis.


Commenting on the trading results, Ermenegildo “Gildo” Zegna, group chairman and CEO, said in a statement: “Even though the overall environment is expected to remain even more challenging, I am confident that our projects and actions are the right ones to unleash the untapped long-term potential of all three of our brands.”


The Zegna brand recorded revenues of 566.1 million euros, up 4.6 percent or 5.9 percent organic growth. Thom Browne revenues were 166.7 million euros, down 19.4 percent or down 26.7 percent organic.


Tom Ford Fashion recorded 148.5 million euros of revenues, up 132 percent or 4.7 percent organic and textile revenues were 71.8 million euros, down 1.7 percent or 0.6 percent organic.


Gross profit increased to 637.4 million euros with a gross profit margin of 66.4 percent and the group reported an operating profit of 73.1 million euros compared to 116.5 million euros in the six months of 2023.


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Shein X emerging designers present accessible fashion in Paris

REPORT


Shein France Fashion Show September 2024. Credits: F. Julienne



A digital native brand, ultra fast-fashion and live stream shopping – welcome to the world of Chinese giant Shein and the Shein France fashion show.


Thursday, September 12: the Shein France show took place at the Pavillon Vendôme, a former bank in Paris's Place Vendôme. Fifty models walked the runway, showcasing designs by 18 young international creators from diverse backgrounds: regular collaborators, freelance designers, Shein X competition participants, and students from IBSM Bordeaux.


The theme chosen by Shein France's artistic director, Luca Raveillon, was ‘The New Codes’, he explained to FashionUnited: "We've seen a lot, especially in the series 'Emily in Paris,' of berets and Breton stripes. I asked the designers, 'What does French style mean to you?' They all agreed: 'We're not forgetting the heritage of French fashion, but we're mixing it with more contemporary and urban pieces.'"


The result? 50 percent original creations and 50 percent Shein items. The show flirted with different moments of the day: outfits for work, streetwear, cocktail wear, slogans like ‘It's a dress, not a yes’, but also, more surprisingly, looks inspired by the fetish scene: oversized capes, suggestive transparencies, corsets, thigh-high boots, and fishnets. "Beyond Paris, in an inclusive approach, we wanted to embody all of France to reach the widest possible audience," added the artistic director.


When ultra fast fashion, embodied by Shein, defends its production model




As proof of this desire to professionalise aspiring designers, a QR code provided access to their profiles, including their name, photo, background, and a sentence summarising the spirit of their collection. For example: ‘Where there's a will, there's a way’ by Eddie Corps from Mexico, ‘Shine, dare, live" by Mathilde L'homme from France, and "a childhood dream come true" by Mohammad Hossein Mahjouri from Iran, demonstrating the opportunity offered by the brand to unknowns outside the traditional fashion ecosystem.


The designs were available for purchase during the show via the Shein app's live stream, creating an almost unique bridge between a venue symbolic of luxury jewellery and the reality of the famous ‘purchasing power’ – a term that has invaded the political and economic sphere and for which this "Chinese Edouard Leclerc of fashion" is shaking up the rules of the game by dressing Gen A, Z, X, Y, and even boomers because, according to statements collected on site, "Shein's customers are loyal." It remains to be seen at what cost – not the one on the labels, but the environmental and social cost.


To address this, Leonard Lin, Shein's president for the EMEA region (Europe, Middle East, and Africa), answered questions, starting by defending the brand's production model, explaining once again that clothes are initially produced in small quantities (100-150) to test the market before being launched on a large scale. What about returns? "They are less than 10 percent and 95 percent are resold," assured Fabrice Layer, Shein's head of public affairs, who was present at the event in a Shein suit and tie.


Regarding the impact on the climate, Leonard Lin assured that the company wants to optimise sourcing, both for raw materials and manufacturing. To convey this intention, the Shein France fashion show, a media event, was composed of 20-30 percent deadstock fabrics. The brand even went so far as to name its supplier in Paris's Sentier district – a statement easily verifiable.


"If these thresholds are removed (and Brussels is aware of them, editor's note), we will pay what needs to be paid," the managers affirmed in unison. In fact, the issue seems to stem more from the slow pace of decision-making.


One last piece of information noted in the press release: "During the show, Shein also unveiled a new programme aimed at identifying, supporting, and developing emerging European designers, with an initial investment in the millions of euros. A dedicated team will aim to integrate 250 European designers over the next five years into the Shein X programme." Enough to make detractors jump?


This article originally appeared on FashionUnited.FR, translated and edited to English.


It was translated using an AI tool called Gemini 1.5.




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com.


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LFW SS25: Tolu Coker talks the struggles of being an emerging designer

Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Interview


One of the hottest emerging talents at London Fashion Week has to be Tolu Coker, a West London-born, British-Nigerian designer and multi-disciplinary artist who is part of the British Fashion Council’s NewGen programme.


Coker, a graduate of Central Saint Martins, acquired experience in the design studios of J.W. Anderson, Maison Margiela and Celine before launching her namesake brand in 2018. No stranger to LFW, Coker made her debut in AW19 as the winner of the Fashion Scout Merit Award, an accolade that has kickstarted the careers of designers including Eudon Choi, Phoebe English, and David Koma.


Her work has a vintage and joyful sensibility, which celebrates her heritage as well as her sustainable approach to design, utilising upcycled, deadstock and reclaimed materials, and her SS25 collection was no different.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Coker invited her guests into a world built on personal and collective memories, transforming the show space into a British-Nigerian living room, paying homage to her late father Kayode Coker’s photography, and even decorating the walls with 60s-inspired wallpaper projections and offering up mid-century furniture as seating, for an immersive experience into the intimacy of the family home.


Tolu Coker SS25 ‘Olapeju’




The setting provided the perfect backdrop for her collection named ‘Olapeju’, a female name of Yoruba origin translating to ‘where wealth gathers,’ and that of Coker’s mother, the muse of this season, and a look back at the migrant communities in London in the late 60s and early 70s, which acted as a starting point for the collection.


This translated into a narrative of cultural fusion, identity, and community, with timeless and versatile pieces coming down the catwalk emphasising sharply tailored silhouettes, high cinched waists, equestrian-inspired jackets and jodhpurs-style balloon-hem trousers. The retro-infused aesthetic continued with 60s A-line forms, exaggerated collars, and shortened hemlines, with matching co-ord sets, hats and shoes taking centre stage to reflect the influence of top-to-toe dressing.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Sustainability was highlighted with upcycled and deadstock leathers, reclaimed satins with bold 70s-inspired prints, and the brand’s signature upcycled denim houndstooth jacquards, now washed in soft spring pastels. The collection also reaffirms Coker’s commitment to heirloom fashion with garments from previous seasons intricately woven into the catwalk styling, underscoring the importance of extending the lifespan of clothing by revisiting and reimagining existing wardrobes rather than discarding them with the next trend cycle.


This season also included a collaboration with Manolo Blahnik, including three new boot styles designed by Coker, which reimagine the luxury footwear brand’s heritage and equestrian codes from the legacy of the Westway Stables whilst utilising offcuts of deadstock leather from the collection.


Interview with Tolu Coker ahead of her SS25 catwalk show at LFW




Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Ahead of her spring/summer 2025 show at LFW, FashionUnited caught up with Coker to find out more about the collection, how she designs with sustainability in mind, as well as the issues facing young designers and her advice for aspiring fashion designers starting out in the industry.


How would you describe your brand’s aesthetic?




My brand's aesthetic is polished, tailored, classy, and sophisticated.


What was the starting point and inspiration for the spring/summer 2025 collection?




I was looking at immigration in the late 60s and early 70s, and my late father's photo archives, which was a real reference point for me, where he had documented the migration of Nigerians to England, the communities that they birthed, and the significant contributions they made here in the UK. I just used those images to piece together their stories while looking at them through the lens of the matriarch.


My family has a long history within the North Kensington estates, the Ladbrook Grove and Portobello areas of London. At that time, they were kind of slums, and there was a huge landlord crisis and a mix of Irish, Caribbean, Black, Portuguese and Algerian communities, which you still see today in the area.


I think it's a very special community. I wanted to look at the notion of wealth, the ideas of luxury, and what that means, and luxury being rooted in heritage, and what that could mean for communities that were birthed through immigration. This idea of wealth not being about monetary value but the value of community, the value of culture and cultural preservation, which I think was very prevalent at that time.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How do you go about blending your cultural heritage with contemporary designs?




I don't think it's necessarily something that's done, incredibly intentionally, I think it's very much part of the subconscious. When you design from a space of self, you sort of design with all of the influences, cultural, social, spiritual, and environmental, that shape you as a person.


I think a lot of my cultural heritage is just inherently a part of the lens and gaze through which I design clothing.


I spend a lot of time talking with people and researching before I even begin the design process. It very much is a process of discovery and of learning a story in order to tell it.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How do you implement sustainability in your designs?




It's less just within the designs, and it's more so a way of working. It's in the consideration of how we source materials, the kind of materials that we're sourcing, and what we're using, as well as thinking about the longevity of what we're designing, reinforcing garments, thinking about finishes that allow these garments to last for a long time and be passed down from the actual design process.


It's also thinking about designing pieces that can be worn across seasons, that can be wardrobe essentials, that can be dressed up and dressed down, that can be layered, and worn in a myriad of ways. I think that's incredibly important for building out these essential wardrobes, that people get a lot of use out of their garments and also feel a connection to their garments. That's really significant for me.


I also do a lot of panelling within the tailoring, which is great for kind of contour and shaping, but it also means that I'm able to work around, perhaps defective or end-of-life materials to maximise them and get the most out of them.


Also, a lot of my designs consider using the offcuts of other designs or other patterns to be implemented into other designs, meaning that we're just maximising the usage of anything that we are using for production or sampling.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How has being part of NewGen helped your brand?




NewGen has been significant for amplification and visibility. London Fashion Week is a big stage, a global stage, and there are a lot of eyes on it. It's significant to be a part of this programme to have that visibility as a brand. It's so essential.


Beyond that, the mentorship that comes with it I really find invaluable. Likewise, my peers. I learn a lot from other designers within my cohort. It's just really significant to feel part of a level of community and know that you're not just the only one out here trying to do this.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Do you think the fashion industry is doing enough to support emerging talent like yourself? What more could they be doing?




A lot more could be done, but I'm hopeful about the industry. I think that there is a lot of consideration when programmes are built out for young designers. I think it's really important for the industry to step back and reassess where we are and reassess, actually, what is the actual needs of designers. I think the biggest thing for young designers across the board that I always hear is about financing.


We are on schedules with a lot of the big giants, and it's really difficult to keep up with that. We don't have million-pound marketing budgets, and we have to be incredibly resourceful with any resources that we do have, and where things within the market can be very up and down. We've seen what's happened with the wholesale market and the closure of big e-retailers and how that's affected everybody.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



I think young designers are kind of the small fish that feel the impact the most, because we don't have the resources for flexibility or really for contingency, and I think you see a lot of independent brands pack up, as certain tides of the industry shift because they just can't survive it.


I think it's important for there to be consideration of what young designers need, and that is more financing, and also the reality of the pace at which we're able to work at we don't have huge teams or departments that can turn around several collections a year, and I think it's also very highly unsustainable, especially if that's what the industry says it's working towards. That's something that I would love to see shift, and I think there's huge room for improvement in that area.


What’s next for your brand?




Just carrying on - we have, obviously, market and showrooms. For me, it's thinking about sustainable scalability, and how we can have more of a presence, but also more of an impact. Taking it day by day, and just growing and having more visibility and more impact in the most sustainable way.


What are the biggest challenges facing your business?




Finance! I think that's the underpinning of everything. A lot of people don't know that I am an incredibly tiny team of one within the studio most days. I have a team that works across press and other business functions, but as far as design and day-to-day studio, I wear a lot of hats.


I think one of the biggest challenges is finance and workload, you're always trying to manage it, and you're always trying to maintain consistency. It's a lot of work, and it's ongoing. We never really stop. We never really have a break. It's our season's are always in season. If it's not preparing for the show, it's preparing for market. If it's not preparing for market, it's managing production. It's sort of a 365 job.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



One piece of advice you’d give a student fashion designer starting out?




Upskills - like lend your hand to helping people so that you can learn.


I think a lot of the perception today for a lot of people is that you can become a huge, global fashion design superstar overnight, and I think good things, just take time. That's not saying you can't have a quick process. The goal is that with each generation, things become easier. But I don't think that skills should be lost for the sake of that. I think it's important to become a master of your craft, and you can only really do that by continuing on. I think graduation is just the beginning of the process. It's not the end of the process. It's your stepping foot in the industry, and it's your opportunity to learn how things work at an industry level because I think there is a big disparity between how students perceive it at university and the realities of it.


I think it's important to also learn the business of fashion. I think that's such a lapse for so many people coming out of university. A lot of universities are churning out creative directors, and not necessarily business people, and not necessarily the most skilled people. I think it's important to continue to upskill and just to always remain a student. One of the best ways of doing that is by trying to get as much experience as you can and recognise that it might not be the most glamorous, or the most highly salaried, paid job, but think about the value you can get from it, to pour into your craft, because the best ways to make mistakes is on someone else’s budget!


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer


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Mulberry achieves B Corp certification

Mulberry B Corp company Credits: Mulberry



Luxury heritage brand Mulberry is the latest British fashion company to achieve B Corp certification.
Mulberry scored 87.1, above the B Corp requirement pass mark and ahead of the industry standard of 80.9.


The fashion house said it earned notable points for unlocking Impact Business Models, ways that a business is designed to create a specific positive benefit, in the Environment category, underpinned by the brand’s commitment to responsible sourcing and product circularity.


In addition, it was praised for sourcing 100 percent of its leather from environmentally accredited tanneries, launching the recommerce platform Mulberry Exchange, and its ‘Made to Last Manifesto,’ which details its commitment to transforming the business to a regenerative and circular model.


To become a B Corp company, Mulberry had to undergo a rigorous social and environmental framework, requiring a detailed assessment of every part of the business against five key impact areas: governance, workers, community, environment, and customers. Mulberry said it is meeting “high standards” in these areas.


Mulberry B Corp company Credits: Mulberry



British fashion house Mulberry joins B Corp ranks




Andrea Baldo, chief executive at Mulberry, said in a statement: “I’m proud that my first announcement as CEO of Mulberry is our B Corp Certification. Mulberry is one of the first global luxury brands to become a B Corp, and this reflects the DNA of the company and the hard work of the teams.


“But it is a milestone, not a destination, and we look forward to learning from - and contributing to - a range of businesses in order to be a force for good for our communities and the environment.”
The company said achieving B Corp is one step in its ongoing journey to its sustainability commitment of five Cs: climate, cultivation, craft, circularity and culture.


This includes aiming to achieve net-zero greenhouse gas emissions (GHG) by 2035, plans to build relationships with regenerative farmers and establish an end-to-end UK supply chain, and develop and grow the expertise it already has established in the UK, and connect to a regenerative British supply chain.


Mulberry is also expanding its resale and repair programme Mulberry Exchange to Korea later this year, alongside pre-loved edits in Australia and Japan. The initiative launched in February 2020 in the UK before rolling out in the US in 2021 and China in 2023. It repairs and restores more than 12,000 bags a year at its lifetime service centre.


Mulberry craftsmanship Credits: Mulberry


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Fendi sees Roaring 20s at Milan Fashion Week in challenging times

Fendi Spring Summer 2025, Ready to Wear Credits: ©Launchmetrics/spotlight



Milan - Milan transformed once again into the world's fashion capital Tuesday, with Fendi launching Spring-Summer 2025 women's shows with a flowing 1920s-inspired collection –just enough to make one temporarily forget industry headwinds.


In an elegant and understated start to Fashion Week, Fendi Artistic Director Kim Jones presented a collection to celebrate 100 years of the Italian luxury brand focused on "movement, lightness, excellence and ease."


Rife with dropped waists, elongated shapes, transparent organzas, and shimmering beading, the looks were inspired by the seminal decade of the 1920s, with the show notes citing the 1925 Paris Art Deco exhibition and the publication of F. Scott Fitzgerald's The Great Gatsby.


Bands of black or grey were slung low on the waist of transparent skirts, while long, elaborate bead-work marked V-neck dresses in silk and organza –all in never-boring neutrals of cream, black, pearl grey, and rich beige.


The Roaring Twenties may have been top of mind at Fendi, but the luxury industry is more at a whimper during the 2020s a century later, facing a challenging environment, fueled by inflation, low consumer confidence, and weakness in the key market of China.


Still, that won't stop the glamour of Fashion Week, which runs through Sunday and benefits this season from the addition of one more day –the better to squeeze in 57 live catwalk shows attended by buyers, reporters, and other industry professionals.


Highlights of the week include Italy's best-known luxury fashion labels, from Prada and Gucci to Bottega Veneta, Versace, and Dolce & Gabbana.


Fashion Week stalwart Giorgio Armani, however, will not be showing his namesake line this season, having chosen New York for his women's collection on October 17, timed to coincide with the inauguration of a new building on Madison Avenue.


His mid-level Emporio Armani line will get two shows in Milan, followed by a party Thursday in the futuristic theatre located at his fashion headquarters.


Moncler has also shunned Milan this season, opting for Shanghai for its show on October 19, with MSGM, Blumarine, and Tom Ford also absent from the calendar.


Tom Ford announced two weeks ago that Haider Ackermann would be its new artistic director -- with his first collection for Fall 2025 in Paris –while David Koma is to take the helm at Blumarine, following the sudden exit of Walter Chiapponi after just one season.


Less rosy




In presenting Milan Fashion Week's lineup to the press, the general director of Agenzia ICE, a division of Italy's Trade Agency that promotes Italian companies abroad, highlighted the industry's 108 billion euros ($120 billion) in turnover and exports of 81.6 billion euros.


A crucial sector that represents five percent of Italy's gross domestic product (GDP), the health of Italy's fashion industry is currently less rosy than the upcoming catwalk shows would suggest.


So far this year, turnover is down 6.1 percent, according to figures from the National Chamber for Italian Fashion, with the trend expected to continue in the second half of the year.


Forecasts suggest the industry's revenue this year will end up down 3.5 percent from 2023 levels, with recent results from top luxury groups confirming the findings, which are in sharp contrast to years of double-digit growth.


French luxury conglomerate LVMH, which owns the Italian brands Fendi and Loro Piana, saw its 2024 first-half revenue slip one percent to 41.7 billion euros ($46.4 billion).


Rival Kering –owner of Gucci and Bottega Veneta– saw an 11 percent drop in revenue to nine billion euros, with net profit falling by half.


Around 245,000 people, of which 56 percent are Italians, flood Milan during the two weeks of Milan women's fashion –in February and again in September– spending on average 1,638 euros per person per edition, according to a recent study (AFP).


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Shein announces 10 million euro programme for European designers

Shein's Singapore headquarters. Credits: Courtesy of Shein



Shein has launched a programme aimed at discovering, supporting, and developing emerging design talent across Europe, with an initial investment of 10 million euros.


“A dedicated team will focus on the programme, with the goal of onboarding 250 European designers over the next five years through the Shein X Designer Incubator,” the press release reads.


Shein X allows designers to focus on creation, while Shein handles production, marketing, and retail. This enables designers to reach a global audience, share in the profits from sales, and retain ownership of their creations," explained the company in a statement.


To date, nearly 100 designers have participated in Shein X, and their creations are now available to consumers in over 150 global markets.


Commenting on the news in a statement, Leonard Lin, Shein's president for the EMEA region said: "Europe represents an incredible hub of young talent, which is why we are working not only to support new generations but also to advance our sustainability and circularity goals.”


He continued: “Just as the local designers in our show incorporated circularity into their styles, we intend to continue promoting the adoption of circular choices and preferred materials across our entire offering." emphasised


On Sunday, collections from several young French designers were showcased at the Pavillon Vendôme Paris, as the online retailer launched its latest showcase of French design talent. Each new look was complemented by pieces and accessories from the e-tailer.


"This show celebrates the incredible diversity and creativity of French fashion, offering a platform where new voices can let their creativity shine. Shein's mission is to make the beauty of fashion accessible to everyone,” Luca Raveillon, artistic director of Shein France added on his part.


“This means not only giving consumers the freedom to choose styles that reflect their individuality but also giving emerging designers the opportunity to showcase their unique collections to a wider audience, contributing to a more inclusive and dynamic fashion industry," he said.


This article was originally published on FashionUnited.IT, translated with the help of an AI-tool and edited by Veerle Versteeg.


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Chinese designers spotlighted at London Fashion Week

Consistence SS25 at LFW Credits: Consistence



In Pictures


As London Fashion Week continued its 40th-anniversary celebrations this season, Chinese designers, including Huishan Zhang, Consistence, and Mithridate, utilised the global fashion showcase to bridge the gap between the West and Asia to highlight their spring/summer 2025 collections.


Consistence SS25 Credits: Consistence



Consistence ‘Useless But Fabulous’ SS25




Consistence, founded in London by married couple Tien Lu and Fang Fang in 2015, who graduated from Central Saint Martins and London College of Fashion, joined the LFW line-up this season as part of Hu Bing Selects curated by Chinese actor and model Hu Bing to celebrate his 10th anniversary as the BFC LFW Ambassador for China. The new initiative aims to provide a platform for Chinese design talent on a global stage as part of the British Fashion Council’s strategy to build closer ties with the Chinese fashion industry.


The Shanghai-based brand, which has previously shown at Milan Fashion Week sponsored by Armani and taken part in the Tranoï Paris emerging designer support programme, used its on-schedule spot at LFW to present its first womenswear collection, ‘Useless but Fabulous’.


Consistence SS25 - Hu Bing Credits: Consistence



The collection drew inspiration from the duo’s menswear expertise and highlighted the brand’s signature tailoring, with suits and trench coats, alongside its sustainable design practices, where they transformed fabric scraps from previous productions into accessories, such as headscarves, gloves, and scarves.


It also features a fabric collaboration with leather company Scabal, including the use of its patented 24-carat gold-infused fabric, as well as fluorescent pink and fluorescent yellow wool fabrics.


Yuhan Wang SS25 Credits: Yuhan Wang



Yuhan Wang SS25 ‘The Rose Fist’




London-based Yuhan Wang, from Weihai in Shandong province, graduated from Central Saint Martin's and honed her skills working with Marni and JW Anderson. Wang has been part of LFW for several seasons, debuting in 2018 as part of the talent incubator Fashion East, before becoming part of BFC’s NewGen designers.


For SS25, the designer continued her tribute to the spirit of women, taking inspiration from trailblazing female boxers with a collection balancing strength with softness, featuring athletic leotards, biker shorts, and tank tops cut from sensuous Chantilly lace, paired with swinging skirts reminiscent of ballerina tutus.


Yuhan Wang SS25 Credits: Yuhan Wang



Other highlights included American football-inspired silk tops with voluminous shoulder pads adorned with lace trains and 3D floral motifs, alongside waist-cinching corsets and sporty zip tops decorated with ribbons and hand-drawn numbers reminiscent of competitive sports gear, and baseball shirts styled with lace-trimmed boxing shorts and kitten graphic crop tops. Wang even covered boxing gloves in lace.


“It’s about embodying a duality: celebrating fierce determination intertwined with delicate femininity,” explains the brand in the show notes. “The collection marries the audacious spirit of female fighters with Yuhan Wang's romanticism, offering a vision of womanhood that is both resilient and graceful.”


Huishan Zhang SS25 Credits: ©Launchmetrics/spotlight



Huishan Zhang SS25




Huishan Zhang, who is based in London and a regular on the LFW schedule, took inspiration from Wong Kar Wai's erotic short film ‘The Hand,’ for his spring/summer 2025 collection offering elegant and sexy daywear ensembles with beaded fringes, embellished scuba gowns, shirts and cardigans styled open over sheer bras, statement trench coats and shift dresses with sheer and cut-out detailing.


Huishan Zhang SS25 Credits: ©Launchmetrics/spotlight



Commenting on the collection, Poppy Lomax, head of superbrands and international designer buyer at Harrods, told FashionUnited over e-mail: “Huishan Zhang presented a sophisticated collection featuring dresses and skirt sets suitable for all occasions.


“The show had a dark, moody feel which embraced sexier, more structured pieces, while still incorporating Huishan's iconic sequins and heavy embellishments that are always a favourite part of his collection. The attention to detail on the pockets was impressive, showing his skill in dressing women.”


Mithridate SS25 Credits: Mithridate by Jason Lloyd Evans



Mithridate pays homage to Yunnan in China




Luxury Chinese fashion house Mithridate, founded by creative director Demon Zhang, a Central Saint Martins graduate who assisted both Lee Alexander McQueen and John Galliano, joined the official LFW schedule this season with a vibrant demi-couture catwalk show at the historic Royal Horticultural Society’s Lindley Hall.


The SS25 collection is described as a personal journey for Zhang, paying tribute to her hometown roots of Yunnan, the southwestern province of China, blending local traditions with a modern aesthetic inspired by the natural elegance of the landscape.


Mithridate SS25 Credits: Mithridate by Jason Lloyd Evans



Yunnan is known as the ‘Flower Kingdom’ and the second-largest flower trading city globally, and floral motifs are a recurring theme throughout the collection, with Zhang using colourful pom poms to symbolise their beauty and delicate nature. Zhang also highlights ancient techniques and rich cultural traditions, placing a spotlight on Yunnan’s traditional tie-dying method, which has been reimagined with contemporary fabrics and tailored silhouettes and includes local traditions, such as the region’s distinctive silverware and accessories.


Highlights included boxy silhouettes with beaded floral embellishments, exquisite gowns with sheer panelling and floral adornments, blazers adorned with silverware trims, sunset-hued bomber jackets and streetwear, and tailoring crafted from locally sourced cotton that feels similar to soft linen to highlight the natural elegance of the Yunnan landscape.


Jingdong at LFW Credits: JD.com



JD.com highlights Chinese talent at LFW




JD.com, the official Chinese retail partner of LFW, brought a selection of Chinese designers, including Shenzhen’s sportswear and fashion brand Ellassay and womenswear labels Marisfrolg and Pure Tea to London to host a Jingdong Fashion ‘Red Journey’ catwalk show in the courtyard of Somerset House.


The move followed the Chinese e-tailer announcing a new partnership with the British Fashion Council to enhance the presence of British designers in the Chinese market while uplifting Chinese and Asian designers on a more global level with the launch of a dedicated campaign on its app.


In a statement, JD.com added that it would leverage its advanced e-commerce infrastructure and extensive consumer reach to help British and global fashion brands navigate the complexities of the Chinese market, highlighting its sophisticated in-house supply chain and logistics network, which delivers 90 percent of retail orders within 24 hours.


Sherrin Kong, president of Jingdong Fashion, said: "JD.com, Inc. supports brands and designers by offering one-stop solutions from consumption insights, e-commerce operations, promotion and marketing to logistics and customer services.


"We help international brands better understand the Chinese market and we support Asian and Chinese brands in continuing to enhance their image in the international market."


Ellassay SS25 Credits: JD.com



The back-to-back catwalk showcase drew inspiration from Jingdong’s signature red and showed Ellassay exploring its contemporary urban fashion with a feminine, elegant touch, drawing inspiration from the freedom of women with a collection of dresses and tailoring featuring embellishments.


Marisfrolg, a brand aimed at the modern urban woman, showcased its newly launched ‘Glazed Art’ collection, which takes inspiration from contemporary handcrafted glassworks with sculptural silhouettes, textured prints and cut-out detailing.


While Pure Tea, a womenswear brand that embodies the spirit of Eastern art and culture, showcased its ‘Floral Wardrobe’ collection filled with vintage-inspired floral and embroidery designs.


Marisfrolg SS25 Credits: JD.com



Pure Tea SS25 Credits: Jd.com


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Retailers urged to improve workplace wellbeing as cases of poor mental health rise

Lancaster, UK. Credits: Unsplash.



A new report by retail industry charity the Retail Trust has brought to light concerns over mental health issues among UK retail and call centre staff. To collate its data, the organisation surveyed over 1,300 retail workers, 17 percent of which said they had missed at least one day of work this year due to poor mental health.


Among the respondents, call centre staff and younger workers were twice as likely to have called in sick in this respect, with poor mental health causing 31 percent of retail call centre staff and 29 percent of Gen Z workers to take time off work. 82 percent of younger workers, meanwhile, reported deteriorating mental health over the last year, while 46 percent of call centre staff said they often felt lonely at work.


Other core issues brought forward by the survey were that of the rising cost of living and abuse from customers, both of which were found to be central to the impact on wellbeing. In addition to this, 71 percent of all retail employees surveyed said that mental health issues were causing them to underperform at work, leading Retail Trust to urge companies to address the issue head on.


The organisation suggested improvement to workplace cultures, mental health training and self-help tools as methods to reverse these figures. In the report, Chris Brook-Carter, chief executive of the Retail Trust, said that the findings have “profound implications” for the UK’s workforce, and while many retailers were already taking important steps to address poor mental wellbeing, more still needed to be done.


He continued: “While retail employers may not be responsible for causing their staff’s mental health issues, they are paying the price in absenteeism and underperformance. They must continue to invest in training, create more positive work cultures, and implement preventative measures to mitigate the mental health challenges their workers face.”


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Bimba y Lola maintains growth momentum in H1

Bimba y Lola Miami store Credits: Bimba y Lola



Bimba y Lola maintained its sales growth in the first of this financial year, with a 3 percent increase over the previous year.


The brand continued to develop its store network during the period under review, which reached 295 points of sale. The company already enjoys online presence in 37 countries.


The company said in a statement that among the newly opened stores, outlets at the international airports, such as Madrid, Barcelona, Singapore and Mexico City, performed well. Sales from physical stores represented 81 percent of the total turnover and the digital channel delivered the remaining 19 percent.


Business in Spain grew by 4 percent in the first half and accounted for 54 percent of total sales, compared to 46 percent contributed by the rest of the countries.


Bimba y Lola also recently launched its second collaboration with designer Palomo Spain at the New York Fashion Week, and is about to complete the project to restore the building and land that will become its new headquarters in Vigo.


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Trendstop Spring/Summer 2025 New York Fashion Week Overview

Collina Strada Spring/Summer 2025. Credits: Trendstop



Trendstop brings FashionUnited readers a look at some of the highlights from New York’s Spring/Summer 2025 collections.


New York’s collections traversed the city from urban interior to its quieter green spaces and water’s edge. Modern architectural and maritime inspirations had a simplicity that belied the complexity of their constructions whilst the surrounding sea, sky and flora brought SS25 fashion closer to the earth.


Proenza Schouler SS25. Credits: Trendstop



Alaia




New York’s Guggenheim played host to its first ever runway show with an Alaia collection that took inspiration from the iconic building’s architecture. Engineered constructions, puffer fabrics and micro pleating created sculptural forms of jackets, dresses and miniskirts. Voluminous taffeta track suits fused couture fabrications with sporty style. The art of jewelry making informed components and accessories from dresses that snapped to the body with bracelet-like fastenings to necklaces suspended from earrings.


Collina Strada SS25. Credits: Trendstop



Proenza Schouler




At Proenza Schouler, Jack McCollough and Lazaro Hernandez looked at classic nautical style though a contemporary lens. Constructions were formed from draped squares of fabric inspired by yacht sails. Graphic takes on maritime and Breton stripes applied to slashed, fringed and raw hemmed knit dresses and co-ords put a punkish twist on sailor chic. Sailor pants with button detailing, rubber rain boots made in collaboration with Sorel, and a palette of blues and creams amplified the sea-going theme.


Alaia SS25. Credits: Trendstop



Collina Strada




Titled ‘Touch Grass’, Collina Strada’s NYC outing was grounded in nature. Held in a small private park in the East Village, romantic, floaty pieces blew in the wind and models playfully threw handfuls of grass into the front row. Chiffons and lace had an ethereal feel, whist translucent mesh introduced an ultra-lightweight element to sporty boots. Washed out seaside hues, grass applied to the model’s legs, and trailing hair tinted with green enhanced the sense of connection with the great outdoors.


Credits: Trendstop



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FashionUnited readers can get free access to Trendstop’s Spring Summer 2021 Key Color Directions report. Simply click here to receive your free report.


Trendstop.com is one of the world's leading trend forecasting agencies for fashion and creative professionals, renowned for its insightful trend analysis and forecasts. Clients include H&M, Primark, Forever 21, Zalando, Geox, Evisu, Hugo Boss, L'Oreal and MTV.


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Lolë acquires cycling and sports brands owned by Louis Garneau Sports

Louis Garneau Credits: Louis Garneau/Facebook



Athletic wear brand Lolë has announced the acquisition of Louis Garneau Sports, a known company in the field of cycling and sports equipment with three brands: Garneau, Sugoi and Sombrio.


The company said in a release that the strategic acquisition marks an important step in Lolë's expansion and strengthens its position in the global sportswear market.


"The acquisition will allow us to diversify our product offering and strengthen our commitment to innovation, quality, and performance, providing our customers with an even broader range of sports clothing and equipment," said Todd Steele, CEO of Lolë.


Louis Garneau Sports was founded in 1983 by Louis Garneau and his wife Monique Arsenault, starting out in his parents' garage. The Quebec company is widely recognized for its expertise in the design of cycling clothing and sports equipment.


"We are proud to join a dynamic and well-respected brand like Lolë. Together, we will continue to innovate and offer high-quality products to athletes and sports enthusiasts around the world," added Jean-Marc Jahoo, CEO of Louis Garneau Sports.


The company added that the acquisition will be effective immediately, and both companies will work closely to ensure a smooth transition. Financial details of the deal were not disclosed.


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