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WRAP resets Textiles Pact Roadmap 2030 challenge as soaring textile volumes derail progress

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WRAP resets Textiles Pact Roadmap 2030 challenge as soaring textile volumes derail progress


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October 28, 2025

Eco group Waste & Resources Action Programme (WRAP) has released the latest results of the industry’s progress towards the ‘UK Textiles Pact’ which targets a 50% reduction in carbon and 30% reduction in water by 2030. And those results don’t make good reading.

While it shows carbon’s down 6% and water’s down 9% per tonne compared to 2019, “the progress made at a per tonne level has been eradicated by the continued growth in the production of new products – something WRAP has issued stark warnings about”, the report highlighted. 

So with 17% more textiles for sale in 2024 compared to 2019, the Pact’s total carbon footprint is up 10% while water use is 7% higher, highlighting the “radical transformation [that] will be needed to meet… crucial milestones”.

But following “urgent talks with signatories”, there’s now a new Roadmap to meet 2030 targets, “having identified the barriers preventing the scale and speed of progress needed to achieve the Pact’s goals and turn the tide on the impact of the textiles industry”, the report said. 

That means a new UK Textiles Pact Roadmap is “setting a new direction for the sector through collaboration”.

This will include focusing attention on the most impactful actions through the introduction of new indicators, “enabling signatories to reduce time deciding what to do and increase time acting; encouraging greater flexibility by providing a framework for signatories “allowing them to lean harder into some indicators relative to others in accordance with their individual business needs, which collectively will add up to the Pact’s shared targets”; and tackling upstream emissions through the introduction of a new workstream on ‘Supply Chain Decarbonisation’.

Catherine David, CEO at WRAP, said: “The Textiles sector is as fizzing with innovation and new thinking as ever. As a sector we face a huge challenge: how to decouple commercial growth from the use of carbon and water-intensive primary materials, and make the transition to Circular Living – with better products and services for consumers.

“Through the UK Textiles Pact, we’ve seen game-changing advances in the technologies and business models of the future with new collaborations challenging old assumptions and turning what was niche into mainstream consumer behaviour.

“Our new Roadmap provides updated tools and pathways for the next phase of circular growth in our textiles sector – together we’ll crack the systemic challenges that prevent the scale of change needed, and provide rocket fuel to the innovations which can accelerate the pace of change, in pursuit of our shared environmental goals, and a thriving and exciting textiles industry.”

Circular Economy Minister Mary Creagh added: “We are committed to moving towards a circular economy where waste is cut and resources are valued; fashion should not cost the Earth. Through our Circular Economy Strategy, we will support growth in the sustainable textiles sector, and I welcome the updated UK Textiles Pact Roadmap as a key step in driving climate action and circular innovation – as well as encouraging reuse and repair.

“WRAP’s new Roadmap sets a plan for achieving true circularity in the industry and we welcome the opportunity to work with as many businesses as possible to join us on this journey.”

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Louvre Museum closed as workers strike

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Louvre Museum closed as workers strike


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December 15, 2025

The Louvre Museum closed its doors to thousands of disappointed visitors on Monday as staff launched a strike to protest working conditions at the Paris landmark, two months after a shocking robbery.

The glass entrance to the Louvre in Paris, France – DR

Workers are demanding extra staff and measures to tackle overcrowding, adding to the woes of the world’s most visited museum just as France is gearing up for the Christmas holidays.

The strike comes nearly two months after the museum was victim of an embarrassing daylight heist that saw crown jewels worth $102 million stolen.

“We are closed,” a security agent told visitors on Monday morning, according to an AFP journalist. “Come back in a few hours.”

Around 400 employees voted unanimously to continue their strike at a general meeting, the CGT and CFDT unions said.

“I’m very disappointed, because the Louvre was the main reason for our visit in Paris, because we wanted to see the ‘Mona Lisa’,” said 37-year-old Minsoo Kim, who travelled from Seoul to Paris with his wife for their honeymoon.

Natalia Brown, a 28-year-old tourist from London, said she was also disappointed. “At the same time, I understand why they’re doing it, it’s just unfortunate timing for us.”

Speaking on the eve of the action, Christian Galani, from the hard-left CGT union, said the strike would have broad support across the museum’s 2,200-strong workforce.

“We’re going to have a lot more strikers than usual,” Galani said. “Normally, it’s front-of-house and security staff. This time, there are scientists, documentarians, collections managers, even curators and colleagues in the workshops telling us they plan to go on strike.”

All have different grievances, adding up to a picture of staff discontent inside the institution, just as it finds itself in a harsh public spotlight following the shocking robbery on October 19.

Reception and security staff complain they are understaffed and required to manage vast flows of people, with the home of Leonardo da Vinci’s “Mona Lisa” welcoming several million people beyond its planned capacity each year.

A spontaneous walk-out protest on June 16 this year led the museum to temporarily close.

The Louvre has become a symbol of so-called “over-tourism”, with the 30,000 daily visitors facing what unions call an “obstacle course” of hazards, long queues, and sub-standard toilets and catering.

Documentarians and curators are increasingly horrified by the state of disrepair inside the former royal palace, with a recent water leak and the closure of a gallery due to structural problems underlining the difficulties.

“The building is not in a good state,” chief Louvre architect Francois Chatillon admitted in front of lawmakers last month during a parliamentary hearing.

Under-fire Louvre boss Laurence des Cars, who faces persistent calls to resign, warned the government in January in a widely publicised memo about leaks, overheating and the declining visitor experience.

After the memo, French President Emmanuel Macron announced a massive renovation plan for the museum, expected to cost 700 million to 800 million euros (up to $940 million).

Questions continue to swirl since the break-in over whether it was avoidable and why a national treasure such as the Louvre appeared to be so poorly protected.

Two intruders used a portable extendable ladder to access the gallery containing the crown jewels, cutting through a glass door with angle grinders in front of startled visitors before stealing eight priceless items.

Investigations have since revealed that only one security camera was working outside when they struck, that guards in the control room did not have enough screens to watch the coverage in real time, and that police were initially misdirected.

Major security vulnerabilities were highlighted in several studies seen by management of the Louvre over the last decade, including a 2019 audit by experts at the jewellery company Van Cleef & Arpels.

Their findings stressed that the riverside balcony targeted by the thieves was a weak point and could be easily reached with an extendable ladder- exactly what transpired in the heist.

Copyright © 2025 AFP. All rights reserved. All information displayed in this section (dispatches, photographs, logos) are protected by intellectual property rights owned by Agence France-Presse. As a consequence you may not copy, reproduce, modify, transmit, publish, display or in any way commercially exploit any of the contents of this section without the prior written consent of Agence France-Presses.



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Gauthier Borsarello announces his departure from Fursac

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Gauthier Borsarello announces his departure from Fursac


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December 15, 2025

Under Gauthier Borsarello’s creative direction, Fursac joined the Paris Fashion Week calendar. Over five years at the creative helm of the French menswear brand, the designer remained faithful to the label’s formal roots while setting a new tone.

Fursac – Autumn-Winter 2025-2026 – Menswear – France – Paris – ©Launchmetrics/spotlight

Under the leadership of the vintage specialist and co-founder of L’étiquette magazine, the brand, which was still called De Fursac when he arrived and had just been taken over by the SMCP group, staged its first presentation for the spring/ summer 2023 season. Last January, Borsarello staged a catwalk show to present his vision for autumn/ winter 2025-2026. In mid-December, he announced his departure via his Instagram account.

“I would like to sincerely thank Daniel Lalonde, Elina Kousourna, Alix Le Naour, Evelyne Chetrite, and Judith Milgrom for the opportunity to work at Fursac five years ago as creative director. This chapter has been meaningful, both creatively and professionally. I am grateful for the trust, the exchanges, and the freedom to contribute to the evolution of the brand,” he says in a message dated December 12.

“I am particularly proud of the studio, design, image, and communications, and of what we have achieved together: bringing the brand onto the official Fashion Week calendar after just one season, and continuing this journey through to the Paris Fashion Week show in January 2025. Thank you for the experience, perspective, and relationships built along the way. I will carry them with me on my journey.”

In five years, the designer has introduced modernised silhouettes and strengthened Fursac’s casual wardrobe, with a heightened focus on fabric choices. He has also broadened his references, from inspirations drawn from football and surfing to a more cutting-edge creative universe centred on music and the arts, as in his SS25 presentation through work with artist Lionel Estève, whose work is exhibited at the Musée Picasso in Paris.

The group confirmed this decision to FashionNetwork.com. “The group’s studio teams have taken over and are currently working on finalising the FW 2026 collection,” notes Isabelle Guichot, SMCP’s chief executive.

The brand welcomed Louise Bousquet-Andreani as its managing director at the beginning of the year. For the time being, activity at its historic premises and boutique on the corner of Richelieu-Drouot, on the Grands Boulevards in Paris, has been put on hold, FashionNetwork observed.

“The Fursac teams at the rue Richelieu boutique have been temporarily redeployed to the brand’s other Parisian stores, notably for the end-of-year sales period. SMCP hopes to reopen the rue Richelieu boutique at the beginning of 2026”, explains Isabelle Guichot, who adds that “as part of the change of ownership of the building, SMCP has decided to bring Fursac’s head office teams into its offices in the 1st arrondissement of Paris.”

Along with Claudie Pierlot, Fursac is reported under the group’s Other Brands segment in SMCP’s published results. After revenue reached €167 million in 2023, this division declined to €148 million in 2024. In the first nine months of 2025, sales were stable compared with the previous year at €108 million, on group revenue of €895 million.

Following the completion of legal proceedings regarding the actions of its former shareholder, the group’s current majority shareholders announced their intention to sell their shares on November 27.

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Higher festive spend is due to inflation, clothing among first to be cut for budgeters – Deloitte survey

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Higher festive spend is due to inflation, clothing among first to be cut for budgeters – Deloitte survey


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December 15, 2025

On the face of it, around a third of UK consumers planning to spend more this Christmas can only be positive, right? Alas, many are blaming higher prices for the decision, according to new Deloitte research.

Image: Pixabay

If it’s any consolation, this is higher than the rest of Europe, where just 23% plan to spend more. And at least in the UK, consumers aged 18-34 are nearly twice as likely to spend more this Christmas compared with older age groups while almost half (44%)  agree they have enough money “to create a joyful Christmas for themselves and their family this year”. 

And while a third of those spending more are blaming higher prices, 23% say it’s a deliberate choice to allocate more budget to Christmas while 20% say they’re spending more because their financial situation has improved.

On the downside, 18% of UK consumers plan to spend less this Christmas compared with last year with around half (48%) blaming the cost of living, while 37% say it is because their financial situation has worsened.

Unfortunately, when asked about what they will cut back on if budgets becomes too constrained, the top things consumers stated were “experiences (restaurants or attending events)… and clothing. At least fewer are likely to cut back on gift vouchers, it noted.

Cande Cooper, retail partner at Deloitte UK, said: “While there is a strong desire among many UK consumers to create and spread joy this Christmas, shoppers are demonstrating a pragmatic approach, carefully balancing their budgets with their festive aspirations.

“High costs continue to squeeze many consumers’ spend, and so retailers will look to target consumers with promotions, whilst also catering to those looking for quality products and shopping experiences. Retailers should also take note of evolving consumer behaviours, particularly the increasing influence and adoption of GenAI in the shopping process.”

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