Fashion
Italy’s Brunello Cucinelli posts €684.1 mn H1 revenue, profit up 16%
The net profit surged 16 per cent to €76.7 million (~$89.7 million), representing 11.2 per cent of sales, and the operating income amounted to €113.8 million (~$133.1 million), with a margin of 16.6 per cent.
Brunello Cucinelli has closed H1 2025 with revenues up 10.2 per cent to €684.1 million (~$800.4 million).
EBIT was up 8.8 per cent to €113.8 million (~$133.1 million), and net profit rose 16 per cent to €76.7 million (~$89.7 million).
Growth was broad-based across regions and channels.
The company expects revenue growth of around 10 per cent in both 2025 and 2026.
Region-wise, Europe saw an increase of 10 per cent YoY to €243.2 million, Americas sales went up 8.7 per cent to €245.3 million, and Asia led the revenue with a 12.5 per cent rise to €195.7 million. Retail revenues advanced 10.3 per cent to €435.8 million, while wholesale sales gained 10.1 per cent to €248.3 million.
The company accelerated its 2024–2026 investment plan, completing key projects a year ahead of schedule, including the doubling of its Solomeo factory. Total investments reached €63.5 million versus €44.8 million last year, Brunello Cucinelli said in a press release.
Payroll costs rose 11 per cent to €125.6 million as the workforce expanded to 3,283 employees, driven by increased artisanal and boutique staff. Despite higher lease and depreciation costs, the company maintained a solid financial structure, with net debt at €197.2 million, reflecting both investments and €68.8 million in dividends paid.
“We have closed the first half of 2025 with excellent results both in terms of revenue and profit, achieving the sound and gracious growth that we greatly value. Our aim has been to dignify manual work, conducting business with full respect for the moral and economic dignity of the human being,” said Brunello Cucinelli, executive chairman and creative director of the company.
“The Fall–Winter sales season has indeed begun very well, as has the order intake for Men’s and Women’s collections for the forthcoming Spring–Summer 2026. All of this, together with the pleasant atmosphere surrounding our brand, enables us to work with peace of mind and to envisage closing 2025 with healthy growth in revenue of around 10 per cent, accompanied by sound profits, and to look ahead to 2026 with the expectation of similarly balanced growth, again in the region of 10 per cent,” added Cucinelli.
The brand also highlighted its global presence with boutique expansions, including new locations on Sloane Street in London and in Vienna, and exclusive events at Harrods and Gstaad, reinforcing its premium positioning, added the release.
Brunello Cucinelli expects to close 2025 with revenue growth of around 10 per cent, supported by strong sales trends in July and August and a successful Fall–Winter 2025 launch. Upcoming showcases in Japan and Korea are set to further consolidate global reach. The Spring–Summer 2026 campaign has been well received—men’s collections completed with strong orders, while women’s are still being collected but with highly favourable feedback. Management anticipates similar balanced growth of around 10 per cent in 2026, with healthy profitability.
Fibre2Fashion News Desk (SG)
Fashion
Louvre Museum closed as workers strike
By
AFP
Published
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.
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.
Fashion
Gauthier Borsarello announces his departure from Fursac
Published
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.
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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Copyright © 2025 FashionNetwork.com All rights reserved.
Fashion
Higher festive spend is due to inflation, clothing among first to be cut for budgeters – Deloitte survey
Published
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.
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.”
Copyright © 2025 FashionNetwork.com All rights reserved.
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