Fashion
US’ Banana Republic launches Banana Republic Archive
This Fall, Banana Republic unveils Banana Republic Archive, a new destination celebrating the brand’s most iconic vintage pieces from the ’70s, ’80s, and ’90s. Featuring limited-edition drops and immersive storytelling, Banana Republic Archive debuts alongside Abandoned Republic, a digital collection of catalogs and memorabilia built for lifelong fans and curious newcomers alike.
Banana Republic has launched Banana Republic Archive, a new platform celebrating its vintage icons from the ’70s–’90s with limited drops and storytelling, alongside Abandoned Republic, a digital catalogue trove.
The debut capsule, curated by stylist Marcus Allen, features 70 handpicked pieces, underscoring the brand’s heritage of adventure, craft, and timeless style.
“Banana Republic Archive reintroduces the spirit of adventure and craftsmanship that has defined us from the start. As a heritage brand, we celebrate one-of-a-kind pieces that let consumers express themselves, resurfacing timeless favorites that can be styled for today.” – Meena Anvary, Head of Marketing, Banana Republic
At a time when luxury is measured by purpose, craftsmanship, and stories, Banana Republic revisits its archives to spotlight silhouettes and details that remain timeless today. From aviator jackets and utility vests to cargo pants and linen shirts, Archive pieces underscore the adventurous spirit that has defined the brand since its founding in 1978 by journalist Mel Ziegler and illustrator Patricia Ziegler.
Launch Capsule Curated by Marcus Allen
Banana Republic Archive launches with a curated capsule by Marcus Allen, New York-based stylist, creative director, and founder of The Society Archive. Longtime champion of Banana Republic’s legacy, Allen brings a storyteller’s lens to the collection, framing garments as heirlooms that are rare, storied, and timeless.
The capsule features 70 hand-curated vintage pieces, including standouts like a Leather Aviator Jacket, 1992 Yellow Raincoat, Stone Irish Linen Shirt, and Denim Jumpsuit, alongside cargo vests, puffer vests, plaid flannel shirts, distressed tees, and utility pants.
“For me, vintage clothing is more about nostalgia, storytelling, and quality. This collection is about bringing those ideas forward with intention. Working with Banana Republic has allowed me to fuse iconic pieces from their archive with other interesting finds that represent a sense of place, permanence, and personal expression.” – Marcus Allen, Founder of The Society Archive
Available beginning September 25 at bananarepublic.gap.com and select stores, the capsule reflects Banana Republic’s commitment to authentic collaborations and honoring its heritage.
Preserving the Brand’s Creative Legacy
To deepen the storytelling, Banana Republic also announces the acquisition of Abandoned Republic, the fan-built archive curated by passionate archivist Robyn Adams. A digital trove of illustrated catalogs, witty copywriting, and original store imagery, the site will remain intact as part of Banana Republic Archive.
“Abandoned Republic began as a tribute to Banana Republic’s origin story. It is about honoring the stories, craft, and adventurous spirit that shaped the brand and allows us to share them with a new generation of curious minds. We acquired this site in recognition and appreciation of the remarkable work of its passionate archivists, ensuring their dedication continues to inspire and engage a broader community.” – Meena Anvary, Head of Marketing, Banana Republic
“I’m a collector at heart and I love the idea of building a community around a shared passion. The archive lets us hold on to what made Banana Republic special while opening the door for new fans to discover it. Turning catalogs, tags, and well-worn seams into living history keeps the brand’s heritage present and relevant.” – Robyn Adams, Founder of Abandoned Republic
Note: The headline, insights, and image of this press release may have been refined by the Fibre2Fashion staff; the rest of the content remains unchanged.
Fibre2Fashion News Desk (HU)
Published
October 6, 2025
White Stuff continues to prosper with its latest results showing a more-than-20% sales rise in the year to the end of March.
In its 40th anniversary year and owned by TFG London since last autumn, the fashion and lifestyle label with 100+ UK stores has been opening new locations and also has plans to open a further 10 stores next year.
Sales in its latest year rose 20.3% to £184 million, The Times reported.
Its parent company didn’t release any brand-specific profit figures, but White Stuff had filed its figures for the year to the end of April 2024 in August 2024 at which point pre-tax profits had jumped from £47,000 to £4.8 million. Its next set of accounts is due to be filed at Companies House by the end of December so we may get a clearer picture of profits at that point.
Back with the latest year, it also saw customer numbers surging 41% as the business opened new stores and invested more money in marketing.
That resulted in a strong Christmas trading period and back in January, it had said that in the 10 weeks to 4 January, it saw a 21.8% increase in total sales. Buoyant trading was underpinned by it being a strong season for knitwear as well as the company acquiring new customers at a record level.
The company also said trading in its first half of the new financial year (the six months to September 2025) has been in line with expectations. Saying something like “in line with expectations” can actually mean both good news or bad, but in this case it appears to be the former as it said trading is ahead of last year. That’s despite challenging conditions that have dented sales at fashion business both large and small.
MD Tracey Verghese said: “This has been another strong year for White Stuff, with double-digit sales growth, despite ongoing pressures in the external environment.
“There’s still plenty of opportunity for the brand to roll out more shops over the next few years. New stores play an important role in growing our reach and bringing White Stuff to new customers.”
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Recognising cotton as a critical sector for millions of farmers, the ministry, in a meeting with cotton-growing states, the Cotton Corporation of India (CCI), and ministry officials, outlined a national strategy aimed at ensuring hassle-free procurement, timely payments, and digital inclusion, while urging states to fully align with MSP operational norms.
India’s Ministry of Textiles, led by Secretary Neelam Shami Rao, has launched a preparedness plan for the 2025–26 Kharif Cotton Season, featuring 550 procurement centres across 11 states and digital registration via the ‘Kapas-Kisaan’ app.
Procurement begins in October in phases across zones, with payments made directly to Aadhaar-linked accounts to ensure transparency.
Procurement is scheduled in phases—Northern Zone (Punjab, Haryana, Rajasthan) from October 1, Central Zone (Gujarat, Maharashtra, Madhya Pradesh, Odisha) from October 15, and Southern Zone (Telangana, Andhra Pradesh, Karnataka, Tamil Nadu) from October 21, 2025, the Ministry of Textiles said in a press release.
The ministry emphasised the adoption of the ‘Kapas-Kisaan’ app, which allows farmers to self-register, book slots, and track payments in real time. States have been asked to run awareness campaigns to maximise participation, with registration open until October 31, 2025. Existing users in Andhra Pradesh, Telangana, Madhya Pradesh, and Haryana must verify their records on the app.
Payments will be made directly to Aadhaar-linked bank accounts via NACH, with SMS alerts sent at every stage. Local Monitoring Committees (LMCs) will oversee operations at each centre, and CCI has set up dedicated WhatsApp helplines for quick grievance redressal.
Secretary urged states to expedite sharing of cotton cultivation records to facilitate registrations. She stressed that inter-ministerial coordination, state support, and digital outreach are key to ensuring every cotton farmer receives a fair price, timely service, and grievance redressal under a modern, accountable procurement system. Therefore, all eligible cotton farmers were strongly advised to register promptly and leverage digital tools to avoid distress sales, added the release.
Fibre2Fashion News Desk (SG)
Published
October 6, 2025
Trampling fallen leaves outside the Lycée Carnot, a host of stars went back to school to attend the Lacoste show on Sunday. In a gymnasium with the air of a market hall, the brand presented its spring-summer 2026 collection, entitled “The Locker Room”. Lacoste’s artistic director, Pelagia Kolotouros, incorporated more sportswear into this collection than in the previous two. Having worked for Calvin Klein, Yeezy, Adidas and The North Face, the designer presented her fourth collection for Lacoste this Sunday.
Inside, white tiles lined the floor and half the walls, interspersed with bands of faux grass or vivid green tiles – Lacoste green. Guests sat on curved benches draped with large white-and-green towels, bathed in soft rays of sunlight filtering through the glass roof. As the show began, ambient sounds rose; the hiss of showers echoed. The collection was set in the moments after exertion, when sweat-soaked kit was shed in favour of fresh, clean pieces. Upstairs, the models appeared, emerging from semi-transparent plastic curtains – fogged with condensation.
Captivated, the audience discovered silhouettes that swung from abbreviated to oversized, in predominantly vivid hues drawn from the Lacoste archives. Starting with orange and its tennis-court-coloured variations, the pieces gradually shifted to blue, green, then taupe, cream and white. The wardrobe was equally diverse: long coats covered loose-cut suits (trousers or shorts), themselves worn over red leather tops with generous collars; a poncho cloaked a look, revealing only the collar’s tied straps; wet-look nylon tracksuits underscored the collection’s sporting spirit.
Here and there, bucket bags and towels knotted at the waist or slung over an arm revive the atmosphere of gym showers. Stretched polos and the layering of certain looks created a deliberate mismatch, in the service of comfort. Shorts, for example, were worn under joggers. The brand paid tribute to René Lacoste with a print on the back of certain pieces. Some tops bear the date “1927”, the year the crocodile logo was created by designer Robert George.
With ‘The Locker Room’, Kolotouros placed a strong emphasis on accessories. Wrists were wrapped in chunky, coiled-rope bracelets, and feet slipped into sport-inspired lace-up flats with flaps, heeled shoes of all kinds, square- or round-toed, or mounded forms in a suede-like material. The Lenglen bag returned to the models’ hands, sometimes half white, half black, stamped with the message “For tennis use only”. Other, deeper bags were worn under the arm, while slim racquet cases were carried by the handle.
The show ended in a noisy chorus of breath, percussion and squeaks, like the sound of shoes in training. Applauded by a crowd including Venus Williams, Pierre Niney, Adèle Exarchopoulos, Anna Wintour, Adrien Brody, Taylor Zakhar Perez and South Korean singer Kai, the artistic director broke into a run herself, dashing across the room before joining the models.
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