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Summer 2026 looks set to be romantic with Sacai, Zimmermann, Ungaro and Agnès b

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Summer 2026 looks set to be romantic with Sacai, Zimmermann, Ungaro and Agnès b


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October 7, 2025

Silhouettes elongate or gain volume; ornamentation gleams with sparkling details; the wardrobe grows more sophisticated. This romantic, faintly glamorous vein came to the fore on the eighth day of the Paris shows devoted to Spring-Summer 2026. On Monday, numerous collections homed in on a new feminine elegance, as redefined by Sacai, Zimmermann, Agnès b. and Ungaro, among others.

Sacai, spring-summer 2026 – ©Launchmetrics/spotlight

Unusual constructions, layering, and material blends. For her Spring-Summer 2026 collection, shown on Monday at the brand’s new headquarters—an old building with a vast glass roof, formerly occupied by Balenciaga on rue Cassette in the 6th arrondissement—Japanese designer Chitose Abe returns to her fundamentals, revisiting the key ingredients behind Sacai’s success.

Trench coats, denim, knitwear, outerwear, the white shirt, the little black dress and more. She surveyed the archetypes of the women’s wardrobe, blowing them apart before recomposing them into covetable hybrids. Black and white reappeared in voluminous silhouettes, finished with Oxford shoes sporting oversized tassels that lent an eighteenth-century air to the whole. The mood was epitomised by supermodel Naomi Campbell in a superb sleeveless tuxedo with a train.

Each piece was distinctive—almost unique in its construction, detailing or fusion of materials—yet appeared easy to wear, conveying a sense of freedom and movement. With Sacai, fashion is, more than ever, a game, and this season the house explored a new technique of “reversal”: the lower sections of classic garments flip up to fasten high on the body, creating unexpected forms.

For example, black trousers were hoisted up, anchored to the shoulders of a tuxedo jacket that becomes an oval cape. The same trick applied to the hem of a long white shirt, laced through eyelets at the shoulders, and to the panels of long canvas skirts, which rose to the waist to create peplums and ballooning shapes. Elsewhere, a trench morphed into a petticoat and a shirt, tuxedo and skirt become one.

Movement was omnipresent in undulating or godet-flared blouses and skirts. A shot of lime yellow enlivened a black-and-white patchwork maxi dress. Leather blousons and denim pieces were taken apart and recomposed into puzzle-like garments with rounded contours. Further on, mini dresses emerged from a mix-and-match of patterns (stripes, polka dots, flowers), while waterproof canvas fused with tuxedo satin. Tweed dresses unravelled into cascades of fringing, rounding off a breathtaking collection brimming with energy and invention.

Agnès b., spring-summer 2026 – ©Launchmetrics/spotlight

Absent from the catwalks since 2019, Agnès b., real name Agnès Troublé, made her triumphant return on Monday at Paris Fashion Week with a grand manifesto show charting her half-century in fashion. The occasion also marked her return to fragrance, with a new scent authored by the designer and perfumer Isaac Sinclair. “Agnès b. Paris Le Parfum” will be launched on October 14. Made in France, it embodies “discretion, timeless elegance and the freedom to be oneself”.

Nearly 90 models, including 15 men, traversed the long runway installed at the Collège des Bernardins, accompanied by a live concerto. Principal dancer Hugo Marchand opened the show to an aria from Rameau’s “Les Indes Galantes”, played on piano by Martin Beau. What followed was a seemingly endless parade of the creations that have marked the brand’s history, with numerous archive pieces, reworked models and new releases.

The first part was devoted to her ultra-light dresses in fine cotton, including butter muslin—very airy and washed “so it shrinks a little”—as well as light linen. There were petticoats, including the reworked “tango” model, dungarees and mechanic’s coveralls, apron dresses and crepe tailoring. Not forgetting artists’ T-shirts, Elvis straight-leg trousers, button-front dresses with Peter Pan collars, the harpsichord shirt (without buttons). Not forgetting, of course, polka dots, gingham fabric, denim, unisex leather jackets, satin used to cut cargo trousers and an eighteenth-century-style linen frock coat, from the designer’s favourite era.

At 83, Agnès can still deliver lessons in dressmaking, with her precision in cut and construction—not to mention her meticulous attention to armholes. The secret of her success? She has always remained true to her style since her debut in 1975, without ever renouncing it. Comprising informal, easy-to-wear pieces alongside more elaborate ones, each imbued with quintessential Parisian chic, the Agnès b. wardrobe covers every daily need, from morning to night, addressing everyone, men and women of all ages, with a timeless yet characterful style that has continued to captivate for five decades.

Zimmermann – spring-summer 2026 – ©Launchmetrics/spotlight

​Pastel décor, the cries of seagulls, the soft waft of the brand’s next in-store fragrance, Zimmermann set a decidedly summery tone, immersing us this season in the bohemian, arty atmosphere of Lavender Bay in the seventies. At the time, this industrial corner of Sydney Harbour—with its disused warehouses wedged between a Luna Park and the railway—sprang to life, attracting an exuberant artistic community.

It’s this carefree effervescence that Australian designer Nicky Zimmermann translated with brio in her collection, while modernising the theme. A fresh, joyful spirit pervaded the show, which made much of vibrant colours (emerald green, petrol blue, orange, and pink), soft-focus floral prints à la David Hamilton and a nonchalant allure.

Blouses and maxi dresses were by turns ethereal in billows of ruffles, or demure in white cotton lace. Trousers were worn baggy or very flared. Front-zipped jumpsuits, worn unzipped, gave the models—in dark sunglasses, sandals or clogs—a touch of house painter. Chic pleated trousers sat low on the waist, revealing a high-cut swimsuit. Long dresses glided sinuously along the body. The women oscillated between a headscarf and sparkling gold jewellery.

A collection that should prove successful, like the previous ones, Zimmermann being one of the few brands to continue to post growth in today’s market with its accessible luxury, which appeals well beyond its native Australia.

Ungaro, spring-summer 2026 – ©Launchmetrics/spotlight

The treasures of the Louvre served as the starting point for Ungaro’s collection, in particular Ingres’s “L’Odalisque”. “In this collection, there’s Orientalism, with a mix of cultures, but also a ‘cabinet of curiosities’ side. I wanted to celebrate femininity and freedom, imagining these women going from the Louvre to the flea market, mixing all sorts of influences,” explained artistic director, Kobi Halperin.

The result was a collection both rich and delicate, all about lightness via silky fabrics with floral prints, gauzy gypsy dresses, more sensual versions in fluid satin and clouds of ostrich feathers, which lent an airy touch to the ensemble. Several pieces in lace and guipure (dresses, as well as jackets, skirts, shorts and trousers) let the air circulate in a fresh, boudoir spirit.

The wardrobe is conceived to be versatile, with interchangeable pieces to mix and match from day to evening. Take your pick from beautiful shirt dresses, weightless summer dresses in chiffon or cotton, monochrome or printed, little tweed jackets to pair with leopard shorts, and the classic suit with its elegant double-breasted jacket, in white or a precious brocade.

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Data and traceability drive discussions at the 12th “4sustainability” event

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Data and traceability drive discussions at the 12th “4sustainability” event


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Nazia BIBI KEENOO

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October 7, 2025

The 12th annual 4sustainability event took place on Friday, October 3, at Eurojersey’s headquarters in Caronno Pertusella, Italy. Ympact—an ecosystem that connects brands with their supply chains to track product and process data, monitor compliance, reduce environmental impacts, and optimize operations—organized the gathering.

Ympact, founded by Francesca Rulli and Massimo Brandellero, leads the YHub Group, which counts Foro delle Arti (the holding company of Brunello Cucinelli SpA), Matteo Marzotto, Federico Marchetti, Giorgio Armani SpA, and Fondazione del Tessile Italiano among its shareholders.

More than 500 participants attended in person and online. Speakers centered their sessions on data, traceability, new technologies, and harmonized methods for sustainable fashion.

Eurojersey’s general manager, Andrea Crespi, hosted the event.
“We are proud to host the annual 4sustainability event at Eurojersey, sharing a united message on sustainability with more than 500 players in the Italian textile supply chain,” Crespi said. “Tracking and monitoring production is now fundamental: the added value lies not in what we do but in how we do it inside our factories, a heritage to be protected and preserved for today and for tomorrow. What is produced in our country is expensive because it is made with quality materials, by skilled people and with the best technologies. If we do not understand the importance of this value, the Italian supply chain risks succumbing.”

Francesca Rulli, co-founder of Ympact, and Andrea Crespi, General Manager of Eurojersey
Francesca Rulli, co-founder of Ympact, and Andrea Crespi, General Manager of Eurojersey

After opening remarks from Rulli and Crespi, Valentina Boschetto Doorly, associate partner in Italy at the Copenhagen Institute for Futures Studies, presented four megatrends shaping the era—climate change, demographic shifts, technology and artificial intelligence, and deglobalization—and explored their implications for the fashion industry.

“We are in a destabilizing period, which I call the new world disorder; after a historical era of great stability, in which the future was synonymous with progress, today the future is synonymous with anxiety,” Boschetto Doorly said. “The balance is shifting: the economic weight of the new technological economy is in China, the demographic weight is in Africa, which will grow from 1.256 billion in 2017 to 2.528 billion in 2050, doubling its population, while Europe’s population declines. Another reason for destabilization is the transfer of wealth: money is moving from west to east and from east to south, from the real economy to the financial economy (worth ten times the real one), and from the middle classes to the upper classes. In Italy, the largest economic transfer in the country’s history has begun; by 2050, 40 percent of the Italian population will be over 60, while young people are increasingly going abroad—almost 6 million in 2024.”

She also addressed fashion’s role: “Fashion today is bulimic, the life cycle of products is very short, and we no longer know how to distinguish the price of things from their value. The world is regurgitating back at us what we have done to it. Fashion today must be a conscious choice that recognizes our role as guardians of our world.”

Rulli and Brandellero presented Ympact’s vision through the tagline “Tracing Fashion to a Responsible Future.” They emphasized how tracing data, processes, and supply chains enables responsible production models based on harmonized frameworks supported by technology and expert implementation.

Ympact’s system facilitates the adoption of the Digital Product Passport (DPP), mandated by the European Ecodesign Regulation (ESPR), to help brands protect products from counterfeiting—an industry worth $2 billion annually. Michele Zuccheri, head of business development at Certilogo, and Carolynn Bernier, coordinator of the CIRPASS-2 consortium, discussed this topic in a session moderated by Martina Schiuma, head of global strategy and partnerships at Ympact.

A panel then examined how systematic data collection can drive genuine improvements.

Elisa Gavazza, southern Europe and quality management director at ZDHC; Daniele Massetti, regional lead for Italy at the Apparel Impact Institute; Alessandro Barrani, industrial sustainability manager at Prada; and Elisa Santi, sustainability manager at Beste, debated the question in a session moderated by Ester Falletta, technical director at Consorzio Physis and consultant for Ympact.

“With Ympact we are running an excellent project on raw material traceability. This has an impact on the day-to-day relationship between brands and suppliers. Data should not be seen as brand control over the supply chain but as something that strengthens trust and brings transparency,” Barrani of Prada said. “We must explain to suppliers why we collect data and give them the technical tools to do so. In this way, the value of data will become increasingly evident and we will see tangible improvements for the entire ecosystem in terms of competitiveness.”

The speakers on stage at the event
The speakers on stage at the event – FNW/LG

Santi, representing Beste—a Tuscan company specializing in luxury fabrics and garments and part of the Hind Group—shared the supplier’s perspective:

“When we received requests from brands to be more transparent, we welcomed them as an opportunity. We are a highly vertical company and already had this data; we just weren’t sharing it. In addition to market demands, new regulations have also emerged; it was essential to move in this direction. We adopted a platform with Ympact that enabled us to share data more simply and effectively, giving us greater control over our processes and allowing us to provide end consumers with usable, real-time, and up-to-date data.
The biggest challenge for us has been involving the supply chain—upstream suppliers—who have experienced this as an imposition; we have tried to convey the message that it is also a goal of improvement for them. At Hind Group level, we have a dedicated team that conducts audits at our suppliers’ facilities, involving them and explaining the importance of sharing information. Traceability today should not be seen as an obligation, nor as a finish line; there must be a change in mindset, a greater awareness of data.”

The discussion on supply chain due diligence compared consultancy insights from Franco Amelio, partner at Deloitte, with the perspective of a major brand, Giorgio Armani. Rossella Ravagli, sustainability director at Giorgio Armani, emphasized that brands must commit fully to supplier monitoring systems. To strengthen its long-standing practices, the Armani Group has streamlined its supplier base, imposed clear contractual clauses, and conducted unannounced audits.

“In our contracts, we ask not to go beyond the second tier of supply, because we know that the longer the supply chain, the greater the risks, due, for example, to unauthorized subcontractors. Audits are necessary, even unannounced ones; they are indispensable and should be written into the contractual clauses,” Ravagli said.

“At the governance level, it is essential to adopt and share a code that protects human rights, with a set of requirements laid down in writing and accepted across all tiers of the supply chain, and then properly implemented. The fragmentation of our precious supply chain is a characteristic that is distinctly Italian; suppliers must be protected. At Armani, we have implemented a new tool, building on existing capabilities and accelerating an improvement process that was already underway. It is a technology platform we are developing with Ympact, starting from a solid foundation we already had, thanks to Mr. Armani, who has always encouraged teams to collaborate and share. All suppliers are already on the platform, and in addition to on-site audits, we can also analyze the data. Engagement, involvement, and training of suppliers are essential.”

Speakers emphasized that monitoring systems must be standardized and harmonized to ensure consistency and effectiveness. Without harmonization, suppliers face overwhelming and repetitive requests that lack value. Guided by this principle, Ympact launched 4s ETHIC, a new 4sustainability pillar that enables suppliers to certify their compliance—environmental, social, and reputational—in line with market, due diligence, and legal protocols.

Luca Sburlati, president of Confindustria Moda; Paolo Tondi, Italy certification sales manager at Bureau Veritas; and Andrea Sianesi, professor of operations and supply chain management at Politecnico di Milano, discussed this topic.

“In the first six months of this year, exports fell by 3–4 percent, a figure we expected. What was perhaps not expected is a 6 percent rise in imports, and in particular, a 20 percent increase in products from China. Ultra-fast fashion, whose products are not subject to duties as they are priced below €150, is invading our homes at a dramatic speed,” Sburlati said. “We must pay close attention to what is happening and take countermeasures, creating a supply chain partnership. Of the €90 billion value of textile, fashion, and leather goods, €60 billion is generated by the supply chain; we cannot afford to lose it. Responsibility rests with everyone; today’s attack on Made in Italy is evident.”

Speakers also highlighted the “Memorandum of Understanding for the Legality of Subcontracting in Fashion Production Supply Chains,” signed in May at the Milan Prefecture.

Sianesi explained that collaboration among stakeholders can turn Made in Italy into a global leader in social sustainability by protecting responsible businesses and isolating non-compliant players. He stressed that for this mechanism to succeed in market terms, stakeholders also need incentives that reward sustainable production.

Matteo Ward, CEO of Inside Out Fashion Textiles & Home, closed the event: “In this moment of destabilization, we must find the courage we have always shown in times of crisis to rewrite the rules, without waiting for someone else to do it. To escape the self-constructed cage that forces a choice between sustainability and the status quo, we must remember who we are; raising awareness, collective action, and strong leadership are essential.”

Matteo Ward at the close of proceedings
Matteo Ward at the close of proceedings – FNW/LG

Bringing the event to a close was Matteo Ward, CEO of Inside Out Fashion Textiles & Home: “In this moment of destabilisation, we must find the courage we have always shown in times of crisis to rewrite the rules, without waiting for someone else to do it. To escape the self-constructed cage that forces a choice between sustainability and the status quo, we must remember who we are; raising awareness, collective action and strong leadership are essential.”

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AAFA targets Meta, Alibaba and Shopee in counterfeit crackdown

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AAFA targets Meta, Alibaba and Shopee in counterfeit crackdown


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Nazia BIBI KEENOO

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October 7, 2025

US apparel industry leaders urge Washington to take decisive action against counterfeit goods proliferating on Meta’s Facebook and Instagram, as well as on AliExpress, Taobao, and Shopee.

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In a press release, the American Apparel and Footwear Association (AAFA) accused the five platforms of enabling and profiting from the promotion and sale of counterfeit products, “thereby endangering businesses, workers, consumers, and American innovation.”

AAFA announced its demands as the Office of the US Trade Representative (USTR) reviews the 2025 Notorious Markets for Counterfeiting and Piracy list (NML). The association aims to include all five platforms on this list, noting that artificial intelligence is driving an “alarming” surge in counterfeit goods.

“Recognising these platforms as notorious marketplaces simply reflects reality: counterfeit fashion is widely available on some of the most visited online marketplaces and social media platforms in the US,” said Steve Lamar, CEO of the AAFA. “The Trump administration has an opportunity to highlight the inadequacy of these platforms’ measures to block counterfeiters, while raising awareness among American consumers of this hidden online danger.”

AAFA highlighted that many of its member brands appeared prominently in the US Customs’ 2024 ranking of the most frequently seized counterfeit goods, underscoring the urgency of the issue.

The conflict between AAFA and Alibaba spans a decade, as US brands have long accused the Chinese e-commerce giant of facilitating counterfeit trade. The association also targeted Meta and Shopee in 2022 for similar reasons.

AAFA represents more than 1,100 clothing and footwear brands across the United States. The industry employs over 3.6 million people nationwide and generates approximately $523 billion in revenue.

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